Kunavin DJ Music Enterprise

25 of some of the greatest hist and artists from 2011.

The list could be much more longer, for this Year have been great with very beautiful music.

Read all the biographs, search the artist and song titles on our Music Search Engine and listen to them or find some of them here in our shop.

Because of the lenght of article, we have made 2 parts of it. (This is part 2)

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The Vaccines
“Nørgaard”

A rip-through-your-skull punk guitar riff. Whiplash-inducing pace. A girl. Yelling. A chorus you can’t not sing along with. Instrumental break with falsetto humming. “Going steady.” A boy. The Vaccines’ single “Nørgaard” had it all. That it happened to be about an actual Danish model was a nifty side note. That it all happened in one minute and 39 seconds was the very definition of rock ‘n’ roll.

Paul Simon
“Rewrite”

It’s classic Paul Simon: The Afro-influenced backbeat. The quirky final 30 seconds of whistling. The gentle voice that is as soft as a million freshly fluffed pillows. The verses that come to life as stories right before your eyes. He’s a living legend, and this year’s So Beautiful Or So What reminded us all that he’s still got some serious songwriting abilities left in him. And of all the fantastic tales he offered in 2011, “Rewrite” was undoubtedly the best.

Pepe Deluxé
“The Storm”

Just when you thought you’d heard everything, Finnish scientists of sound Pepe Deluxé dropped “The Storm”, a beacon of analog originality in a sea of pro-tooled homogeny. This slice of cinematic surf rock is a minor character in the group’s esoteric pop opera in three parts, Queen of the Wave (due in early 2012), yet it clearly stands on its own merits, with an Analogue Systems synth bass, twangy guitar, bombastic choir refrain hailing the gods, and a tasty Joe Meek like transistor organ solo laid over a bed of funky drums and a full orchestra. Seriously epic.

Florrie
“I Took a Little Something”

Musically, the song is all sweetness and light from the ringing piano that introduces the song, an impeccable post-disco/house burst of pop euphoria from Xenomania’s house drummer. But like a lot of her contemporaries, Florrie has more complicated emotions in mind. “I need to know just one thing was never in doubt… we’re happy ever after in my head.” Doubt and bliss have rarely been as inextricable, or as potent, and the result is as suited to solitary contemplation as it is to joyful movement.

Jamie XX
“Far Nearer”

The steel pan is a stubborn bastard that refuses to die and resists the temptation to be backed into a corner. The mid-to-late ‘naughts saw an infusion of steel pan in the short-lived and unlikely Balearic revival, but as it was it about to wither from consciousness along came the XX’s programmer Jamie Smith last year with “Far Nearer”, a gorgeous effervescent island pounder whose tropical vibe plays more like rehab than all-night party. “I feel better when / You feel better when”, the soulful but tweaked voice intones. That the verse ends with the somewhat maudlin “I have you near me” matters little, since the longing of the first two lines speaks to an absence, a melancholy indicating that he/she is not near, at least not near enough, to the singer. This track floated around for a long time as a radio rip before the red hot Numbers label put it out this year. In an age of instant gratification though, it was worth well worth the wait to have it near us.

The Pains of Being Pure at Heart
“The Body”

Awkwardness in your own skin is a supreme subject in music, especially so in the indie-pop bands the Pains of Being Pure at Heart musically take after. With sexual and religious matters at hand, the song plays up the shy romantic tension in their music. A soaring anthem, it epitomizes the way the Pains are shining up their influences. Its chorus “tell me again what the body’s for” is instantly iconic, feeling like it’s summarizing pop music as a whole while expressing generations of anxious youthful feelings.

Purity Ring
“Belispeak”

Purity Ring, still a fairly mysterious act, burst onto the blog scene this year with the release of three stellar tracks. “Belispeak”, the best of these songs, distills the ingredients of the duo’s electro-pop into its purest form. Corin Roddick has clearly ingested the Knife’s discography. He lays steel drum-esque synths over a lurching beat, while Megan James gets her girlish vocals chopped and pitched into an alien patchwork. The results are immediately gratifying and subtly sinister, designed to cause a panic of the dancefloor… emphasis on panic.

Coldplay
“Every Teardrop Is a Waterfall”

Drawing near-plagiaristic inspiration from an unlikely source (Peter Allen’s manic piano salsa “I Go to Rio”), the initial report from Coldplay’s Mylo Xyloto offensive is a ravishing pop single. Riding successive waves of synth stabs, barricade-stomping rhythm, and Jonny Buckland’s glittering fills, “Every Teardrop Is a Waterfall” achieves a tone of effortless joy. And although it may seem incongruous in a song featuring Chris Martin expounding on the cathedrals in his heart, its greatest point of impact derives from a display of restraint. Reigning in Will Champion’s thunderous drumming until the song’s final minute is a masterstroke, and his full entrance is a rocket-booster blast propelling an airborne craft straight into the stratosphere. This ain’t no comma, it’s a full stop.

Fixers
“Crystals”

Rarely has otherwise sleepy Oxford had so good a cause for local musical pride. The city’s productive five-piece Fixers are tipped for mainstream success in no small part due to “Crystals”, their deliriously entertaining roller-coaster ride of a single which simultaneously justifies and transcends the band’s comparisons to the Beach Boys. Joining searing guitars, stereo-panning synths and a mammoth chorus results in a psychedelic experience, which like all the best ones is gripping, disorienting and instantly unforgettable.

Preservation Hall Jazz Band & The Del McCoury Band
“I’ll Fly Away”

“I’ll Fly Away” is a tune with a long history in American music; it’s a standard for New Orleans brass bands playing at jazz funerals, it’s heavily favored by gospel musicians, and has been a standard part of the bluegrass repertoire for decades. In other words, it’s thoroughly soaked in Americana, that catch-all genre that pulls from traditional American roots music forms. So, it was a perfect song for the Preservation Hall Jazz Band and the Del McCoury Band to make as the centerpiece of their stellar 2011 album, American Legacies. Despite all the superb versions of this song over the years, Pres Hall and the McCoury Boys virtually stamp this classic as their very own, offering up the definitive version to stand for the ages. Soaring trumpet, swirling clarinet, soulful lead vocals, airtight bluegrass harmonies, rhythmic banjo… this is Americana at its very finest.

Radiohead
“Lotus Flower”

Introduced by Thom Yorke during some solo shows a couple of years ago, “Lotus Flower” worked great as a haunting electric guitar lullaby, but for the studio version Radiohead opt to beef up the arrangement, creating one of their most accessible songs in years. Yorke’s lingering falsetto has survived the transformation, but the tracks beauty isn’t stifled by the a web of energetic synths, pulsating beats and shuffling drum loops that now surround the vocal. And, famously, you could dance to it.

Fleet Foxes
“Helplessness Blues”

Fleet Foxes’ excellent second album Helplessness Blues has a lot of highlights, to be sure. But the album’s best song is its eponymous centerpiece, an unflinchingly earnest meditation on finding one’s place in the universe. “Helplessness Blues” starts out lean, riding on Robin Peckhold’s vocal harmonies and the relentless strum of an acoustic guitar for its first half. But then the song erupts into a massive coda: the harmonies multiply upon themselves, a few more guitars materialize, and suddenly the band’s up in the clouds. By the time they return to earth, being small and insignificant in an oversized world doesn’t seem so daunting anymore.

Adele
“Rolling in the Deep”

For those of us who didn’t know Adele’s breakthrough 19, this was the growing tremor that announced the coming of 21. For all its massive success, 21 isn’t a perfect album, as even the world’s biggest producers aren’t sure what to do with a talent this large. They should just listen to “Rolling in the Deep” more, which basically advises “get out of Adele’s way and let her do her thing.

M83
“Midnight City”

All it takes is four synthesizer notes. That’s it. Smothered in reverb, coated in ‘80s nostalgia, teetering on the edge of full-on explosion, those four notes pack more heart and energy than most albums released in 2011. But “Midnight City” is more than just a powerful introduction. On this transcendent standout from the sixth M83 album, Hurry Up, We’re Dreaming, Anthony Gonzalez and co-synth-scientist Justin Meldal-Johnsen build layer upon layer of keys, arena-sized drums, and vocal atmospherics (not mentioning one of the tastiest sax solos this side of a Springsteen record). The result? The synth Sistine Chapel.

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25 of some of the greatest hist and artists from 2011.

The list could be much more longer, for this Year have been great with very beautiful music.

Read all the biographs, search the artist and song titles on our Music Search Engine and listen to them or find some of them here in our shop.

Because of the lenght of article, we have made 2 parts of it. (This is Part 1)

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They Might Be Giants
“Can’t Keep Johnny Down”

They Might Be Giants aficionados might have guessed that co-leader John Linnell had a fondness for the Smiths when the band released their rarity “Save Your Life”, which sounds suspiciously like a Smiths style parody. “Can’t Keep Johnny Down” isn’t quite as literal a Smiths tribute—Linnell sings in his own voice, not a fake English accent, and the bouncing keyboard melody is more TMBG than Morrissey—but the song’s malcontent narrator, singing about imagined triumphs over imagined slights, hits a similarly sweet-and-sour tone. Then again, marrying catchy melodies to dark lyrics has always been their specialty; this instant classic proves it’s a talent undiminished by time.

Lady Gaga
“Born This Way”

Lady Gaga, of course, is known for her excess. And Born This Way is a towering showcase of excess. The result is an album that is a labor to listen to because of its over-the-topness. No such problems exist with the title track. All of the Gaga’s strengths on her one-hour monolith are condensed into a four-minute unstoppable ode to the outcasts of the world. Yes, it steals from Madonna’s “Express Yourself”, just as Madonna stole from other genres and expertly made them her own. Don’t be surprised if Madonna is taking notes for her next reinvention.

The Dø
“Too Insistent”

One strong single helped Dan Levy and Olivia Merilahti’s deeply flawed début album as the Dø to the top of the French charts in 2008. If their new record demonstrates their vast leap forward in consistency, its wondrous lead cut shows the new heights they can achieve. “Too Insistent” is intelligent art-pop perfected, a dizzying four minutes that has Levy’s instrumental talents and Merilahti’s emotive vocal completely in sync. Just too irresistible, more like.

Mamas Gun
“Reconnection”

Mamas Gun knows how to command your attention. Though The Life and Soul is packed with pop-soul perfection, “Reconnection” exemplifies the art of the group’s song craft. Vocalist/frontman Andy Platts gives a particularly spirited performance while band members deftly layer different musical elements over an incessant bass and drum-driven groove—glimmering piano chords here, melodic guitar phrases there. The band displays a brilliant trick when the closing vamp takes an unsuspecting turn. It’s an effective choice by a band whose talent only keeps expanding.

Danger Mouse & Daniele Luppi
“The Rose With A Broken Neck (feat. Jack White)”

With the Billboard charts suffocated by pitch-correction software and hasty Orwellian production, infamous producer Danger Mouse and Italian composer Daniele Luppi took the time (apparently five years) to make an authentic homage to the increasingly respected realm of classic spaghetti western soundtracks. To this aim, they reunited some of the original session musicians used by the immortal Ennio Morricone and painstakingly replicated the means of production of the time, recording vintage gear live to tape without a computer in sight. They also enlisted Jack White to contribute his disturbingly damaged voice to the crown jewel of their creation “The Rose With a Broken Neck”, among others. The sound is warm, the vocals haunting, the production impeccable, and the experience unforgettable.

Ryan Adams
“Ashes & Fire”

Making it sound easy has always been a hallmark of Ryan Adams’ raging creative fertility, but on the unremittingly lovely Ashes & Fire, Adams gets down to the raw troubadourism of your Heartbreaker dreams. By ditching the Cardinals, Adams hasn’t sounded this tender since at least Jacksonville City Nights, playing it straight on the album’s title track, a rangy tramp through acoustic strumming and elemental symbolism. Perhaps other songwriters could approach the compositional heights found here or could enlist Ethan Johns to give the song its warm finish and Benmont Tench to supply piano embroidery. But good luck finding someone besdies Ryan Adams who can deliver a vocal performance like this one.

The Dirt Daubers
“Be Not Afraid”

In 2011, attempted evocations of American folk purity usually resulted in the genteel bleating of flat-footed foxes and their kith—mood music for the comfortably disgruntled to play while stroking their beatific beards. For Colonel J.D. Wilkes’s the Dirt Daubers, folk tradition leads directly to a stark raving strange manifestation of creative American madness. “Be Not Afraid” exemplifies the screwiness of Colonel J.D. Wilkes’s exploration of the mysteries of the mythic American musical past, as the Colonel takes a break from recording raucous aural hellfire with th’ Legendary Shack Shakers to produce this relatively stripped-down distillation of pre-World War II musical styles. With Wilkes’s wife Jessica on vocals, “Be Not Afraid” storms through a weary lamentation that weaves together leftover bits from Southern gospel and white country blues and then almost invents hillbilly Klezmer along the way. The result joyously conjures specters of Wilkes’s beloved ‘mountain music’ with a menacing, slap-happy glee that hopefully has clean-cut guitar-strummers everywhere looking nervously over their shoulders.

Panda Bear
“Last Night at the Jetty”

Lying in bed, anxiety can jar you awake as violently as the gunshot hand claps that open up this song. Life is messy and self-doubt is poison. Noah Lennox’s comforting mantra ” I know, I know, I know” appears when the voices and sounds around him scream the loudest but he manages to calm himself down. While his music doubles as his own’s therapist’s couch, for the rest of us it is a gift and what I can unironically describe as medicine for the soul.

Jill Scott (feat. Anthony Hamilton)
“So in Love”

Can everybody please stop with the “neo” tag when it comes to soul music now? The best rhythm and blues song of the past year that nobody paid any attention to took a classic duet formula (complete with spoken word bridge), updated it with today’s pop-music sensibilities and let the singing do the rest. Jill Scott and Anthony Hamilton are a 2011 version of Marvin Gaye and Tammi Terrell, and this up-beat, groovy love story should have been enough to grab any R&B music fan’s attention. This track isn’t neo-anything. It’s just great soul music.

Okkervil River
“Wake and Be Fine”

“Wake and Be Fine” is an outlier on its own record, I Am Very Far. It tightens the sweeping dramatics of that album into a Phil Spector-nodding, huge pop sound. Those thundering drums keep time under Will Sheff’s manic, mile-a-minute verses, each one building to worry and chaos before the swaying comfort of the chorus. “Wake and Be Fine” is the rare pop song that earns its melodrama, that goes for broke and manages to get there. Sheff and the band sound worn down by song’s end, and with good reason—these swirling nightmares have left them (and us) sweetly exhausted. We’re awake, but nothing is fine. Not until you play the song again, anyway.

Washed Out
“Amor Fati”

Washed Out’s full-length debut Within and Without is a sublime aural chillwave/glo-fi experience. The tracks are perfectly aligned and carefully crafted, none more so than the stellar single “Amor Fati”, a touching song about support, strength and forgiveness that doesn’t sound like a corny self-help Whitney Houston ballad about support, strength and forgiveness. As for many Washed Out tunes, lyrics (and their inferred meaning) are incidental and often times unintelligible—that’s not to say that they’re unimportant, but rather complementary like a nice red wine with your steak dinner. So, when you’re on your 50th listen of “Amor Fati” (and you will be if not already) and finally make out the line: “Don’t drift too far / It’s not your fault / Let go, reach out / The choice is yours / To Find”, you’ll feel your heart lift even higher than it already does when the song begins.

Read more in part 2

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In the digital age, music distribution has become a flux of industry and innovation. If you are an independent music artist in want of exposure and ultimately, sell your music online, you should definitely get into music distribution – an integral part of making a name for yourself and sharing your music to netizens all over the world.

Music distribution has gone digital and the best way to introduce your music is over the Internet. If you’ll notice, majority of established and rising music stars have an online presence. They have penetrated social networking sites, blogs, and online music selling websites. The access to their brand is thanks to an organized and ingenious strategy called music distribution.

There are many music distribution sites to choose from; scrutinize every one and decide on the best service for you. A reputable music distribution agency will either make or break your music career. Do your research; make sure that the music distribution agency actually distributes your type of music, and then decide which agency to work with.

Once you’ve picked a music distribution agency to help you in getting your music out there, it’s time to make your move. In any endeavor, especially distributing independent music, it’s a must that you also have the initiative to make it happen. Music distribution is nothing without a music artist’s participation. Here’s how you can get your foot in the door of music distribution.

1  Make the call.
Nothing beats cold-calling to get noticed. To send an email to a music distribution agency is a supplemental way to have interest. Most agencies would prefer that you call. Even if the person on the other line seems uninterested, call again. You have to let them know that you mean business. On your fist call, tell them your name and record label or management (if any). Your name should be unique and screams ‘star’.

2.Inquire about the music distribution agency’s submission requirements and policies.

3.Ask them what they want  in the press kit.
Does the music distribution agency want a complete press kit that contains press release, photos, review excerpts, et cetera? Or does the distributor only need your cover letter? Details like these could save you time and money.

4.Make sure of the style of music the agency distributes.
There are many genres that distributors take on, so if you’re country and they only distribute hip-hop or rock ‘n’ roll, you should find a perfect fit for you.

5.Know the areas or stores the music distribution agency reaches.
Ask for specific states, regions, or countries. Also, what stores they distribute your music to.

For music distribution to work even further, choose an aggregator that has a reach of over 600 retailers and mobile partners across 100 countries.

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Music has been a part of existence since time immemorial. And, it is everywhere -in the rhythms of nature, the chatter of animals and birds, the babbling of babies, and in the dancing of brooks. Listen and you will hear sweet tunes all weaving a magic of their own.

It is well known that the origins of music go back at least 50,000 years. Music seems to be ingrained in our genetics and tunes are rhythms that are integral to our lives.

Music seems to play many roles in our lives:

• Research indicates the children who learn music are more likely to become doctors, engineers, and computer professionals. Music learning develops areas of the brain responsible for language as well as reasoning. Music is known to sharpen memory. A Rockefeller Foundation study reveals that those who studied music have SAT scores of 427.
• If a child in the womb of its mother listens to music it is born with highly developed intelligence.
• Music molds people—it teaches coordination, teamwork, discipline, and self-expression.
• The therapeutic values of music are well documented. It heals people with mental problems, developmental and learning disabilities, Alzheimer’s disease, brain trauma, and hypertension. That music heals has been recorded in the works of Aristotle and Plato and in the centuries that followed.
• That plants respond to music is reality not a myth. Plants are known to thrive with music and also move towards the sound.
• Children who grow up in a music filled environment are happy, fulfilled, and joyous.
• Music takes the devout closer to god and in religion congregational singing has always worked. Singing hymns lifts any heaviness from the mind and frees the soul.
• When music is played in hospital waiting rooms and so on it ebbs tensions and calms the mind.
• Music has meditative properties and can be used for healing, exercising, and training modules.
• When music plays, people function better. Many find that they enjoy work or activities like cooking and cleaning when music is playing. It erases tensions and lifts weights off the shoulder. Music actually introduces lightness into the body.
• Music reflects the culture of a society and strengthens bonds. It creates a camaraderie and oneness as seen in football matches, military training, and festivals.
• Romance and love would not have so many hues but for music. Music and song have captured feelings, passions, agony, distress, and more succinctly. Through song many a romance have been immortalized. Mating calls and songs are universal in nature.
• Scientists are using music to map behaviors and unravel the many mysteries of the human mind and consciousness.
• Music settles down anger and resentment quickly and also helps us overcome feelings of sorrow and loss. It lifts the mind and spirit out of despair and gives hope. From centuries ago a mother has always sung lullabies to her fussing child lulling it to sleep with softly whispered songs.
• Music has other uses it can raise levels of excitement and cause frenzy. It is used to call armies to war by the beating of drums, to instigate raw emotions during revolts, and to drum up frenzy at football matches and rock shows.

Did you know that while classical music soothes and opens up channels in the mind, rock music can set pulses racing, and chants can send you into a trance. Music used differently has varied effects on human beings. Music can be a panacea or hell depends on how it is used.

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New Age music is music of various styles intended to create artistic inspiration, relaxation, and optimism. It is used by listeners for yoga, massage, meditation, and reading as a method of stress management or to create a peaceful atmosphere in their home or other environments, and is often associated with environmentalism and New Age spirituality.

The harmonies in New Age music are generally modal, consonant, or include a drone bass. The melodies are often repetitive, to create a hypnotic feeling, and sometimes recordings of nature sounds are used as an introduction to a track or throughout the piece. Pieces of up to thirty minutes are common.

New Age music includes both electronic forms, frequently relying on sustained synth pads or long sequencer-based runs, and acoustic forms, featuring instruments such as flutes, piano, acoustic guitar and a wide variety of non-western acoustic instruments.

Vocal arrangements were initially rare in New Age music but as it has evolved vocals have become more common, especially vocals featuring Native American, Sanskrit, or Tibetan influenced chants, or lyrics based on mythology such as Celtic legends or the realm of Faerie.

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