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  • Stuck at Airport? Make a Music Video

    The best way to take your music career to newer heights is to create more content. And in this age of social media and internet, the more visual, the better. Music Videos are tough nut to crack for musicians. they require whole let of gear, man-power, concept and a location. Richard Dunn, defied all odds and created a spectacular music video without spending anything.

    Ever got stuck in an airport? What would you do or think of doing? Read a book? or Have some coffee? Or, the best is SLEEP... Nah... These are all boring. What if you could make a music video all by yourself in an airport? Richard Dunn just did that. He was stuck overnight in Las Vegas' McCarren Airport, where he busied himself making a music video for Celine Dion's "All By Myself".

    The production involves all kinds of dolly tracking shots and lots of drama and emotion. Ceine Dion's All By Myself aptly suits the song for the situation.

    Dunn achieved the moving shots by placing the chair on various moving walkways, escalators, etc., then edited it all together with Final Cut Pro.

    Explaining how he filmed himself despite being all alone in the airport, he wrote on his Vimeo page:

    "I had a person behind a ticket counter give me a roll of luggage tape before she left. I then used a wheel chair that had a tall pole on the back of it and taped my iPhone to that. Then I would put it on the moving walkway for a dolly shot. I also used the extended handle on my computer bag and taped the iPhone to my handle. I would tuck different stuff under the bag to get the right angle.

    "For the escalator shot I had to sprint up the steps after I got my shot so the computer bag didn’t hit the top and fall back down. Quite fun!"

    What music video would you make if you got an airport completely empty for a night?? Write in the comments below...

  • Beyoncé stuns music world with unexpected release of new ‘visual’ album

    IMAGE DISTRIBUTED FOR PARKWOOD ENTERTAINMENT - Singer Beyonce performs on her "Mrs. Carter Show World Tour 2013" at Staples Center on Monday, July 1, 2013, in Los Angeles. Beyonce is wearing a custom hand beaded peplum one-piece by Ralph & Russo with shoes by Stuart Wieztman. (Photo by Frank Micelotta/Invision for Parkwood Entertainment/AP Images) (Frank Micelotta/AP)

    At midnight on Friday the 13th, twelve days before Christmas, Beyoncé revealed a massive surprise: a new “visual” album consisting of 14 new songs and 17 videos.

    The self-titled album appeared on iTunes without any fanfare. As a clever twist, it can only be purchased in full (songs will be available à la carte come December 20).

    In the days and weeks and years ahead, much will be written about the strategy, the sexually-charged content, the Blue Ivy cameo.

    But for now, suffice it to say, the performer has reaffirmed her position as music’s queen.

    “I didn’t want to release my music the way I’ve done it. I’m bored with that,” she explained in a statement. “I felt like I didn’t want anybody to give the message when my record is coming out. I just want this to come out when it’s ready and from me to my fans.”

    Queen Bey, as she is affectionately known, appears in a variety of dramatis personae throughout the opus: scorned beauty pageant winner, caring mother, burlesque dancer and sexpot. She smoothly shifts gears from vulnerability to empowerment; agent provocateur to maternal role model.

    You can attempt to weave together a narrative but this is almost secondary to the emphasis on the visual component.

    “I see music. It’s more than just what I hear,” she is quoted as saying in a statement on the MissInfo music news web site. “When I’m connected to something, I immediately see a visual or a series of images that are tied to a feeling or an emotion, a memory from my childhood, thoughts about life, my dreams or my fantasies. And they’re all connected to the music.”

    The 32-year-old also apparently compared this project to Michael Jackson’s Thriller premiere.

    Beyond her daughter, who appears in the titular song Blue Ivy, Beyoncé has assembled a familiar roster of guest appearances: sister Solange Knowles, husband Jay Z, Drake, supermodels Jourdan Dunn, Chanel Iman and Joan Smalls and, most randomly, Harvey Keitel (as the model competition host) make appearances.

    Fellow music artists Frank Ocean, Pharrell, Timbaland, Sampha, Justin Timberlake and former Destiny’s Child member Kelly Rowland are scattered across the album.

    Directors include industry mainstay Hype Williams, fashion photographer Jonas Âkerlund, longtime collaborator Jake Nava, Terry Richardson and Pierre Debusschere. Beyoncé also shares director credit on several videos.

    And yet, how she managed to keep this undertaking a secret remains most impressive of all. An album of this size – to say nothing of the videos filmed all around the world – would have required an enormous vow of silence from everyone involved.

    It has been two years since Beyoncé’s last album, 4, which debuted in June, 2011. A physical album – in CD/DVD form (yes, people still buy those) – is expected just in time for the 25th.

    By Amy Verner via The Globe and Mail

  • 10 Worst Song Demo Mistakes

    Here are the 10 worst song demo mistakes songwriters make when they are cutting and pitching demos.

    1. Long Intros SUCK – all we are thinking about during the vetting process is the melody, lyric, and vibe of the song; and isn’t that what you are selling?   For the life of me I cannot understand why ANYONE would have a song demo with a 45 second intro; it seems like a lifetime when you have 250 to listen to (if they all had 45 second intros that would be 187 MINUTES of time we wasted waiting for the damn songs to start!).  Think about It, what’s the purpose of a long intro on a SONG DEMO?  You are trying to sell the SONG not blow people away with your producing skills, so why make us wait?  This is such an annoyance; we had probably 8 songs like this.  Every single one of them pissed us off immediately (because we could tell it would be a long one) and to some extent, we passed a poor judgment on the song before we even heard the first verse.  Fair or not, this is what happens; foretold is forewarned.

    2. Crappy/Cheap Production – We did come across a (very) few songs with horrible production; cheap demos.  We just laughed and ripped on them, they provided a welcomed comic relief from the work load we had to complete.  How does that make you feel?  I will tell you honestly, that you have to compete and compete intelligently in your marketplace.  Again, from the first note of crappy production, we are ripping on the demo before we even get to the song and to some extent, it certainly colors our opinion.  Food For Thought.

    3. Wrong Song – READ the tip sheet or LISTEN to the instructions on what the project is requiring.  If the producer asks for Up-tempo party songs, don’t send ballads.  If the tip sheet has an artist with a limited vocal range, don’t send huge songs no matter how good they are, who’s gonna sing them?  Don’t use an opportunity to pitch a certain song as a vehicle to send the producers every song you have; we don’t care.  We are only looking for the songs we need for THIS project so we can get on with producing it.

    4. Vague/Missing Email Subject Lines – So as you can imagine in about 48 hours, I added 250 emails to my regular daily allotment.  As a writer you definitely want to put the name of the artist pitch into the subject line so your song doesn’t get lost in all the traffic.  How else would one find a song amongst so many emails but the subject line?  That’s called common sense.

    5. You Didn’t Research The Artist Before Sending Songs – In the case of this particular artist, his songs have a very positive message; they are on the bright side as opposed to darker themes.  We came across a couple songs about heavy drinking, sex, and adultery that just wouldn’t be right for his brand; clearly the writers that sent those have no clue about the artist, and simply wasted our time.  This doesn’t make a good impression on us about your songwriting no matter how good the song is.  In fact, it makes a bad impression on us that you didn’t listen to what we really needed.

    6. You Chose The Wrong Singer – On your demo, it is so important to choose a pro singer; NOT someone who is your friend or who is ½ price, or yourself to save money.  FYI, suitable vocal ranges are very important as it is really hard to hear a big, high, soaring melody an octave lower.  We try, but it really is difficult; especially in the face of a 250 song listening session.  Those demos with poor singers or inappropriate singers (with respect to the artist) are ignored immediately. Sorry.  I strongly suggest if your song would work down in a low octave as well as a high soaring vocal performance, demo it twice; or at least cut a 2nd vocal so you have something that clearly represents both vocal ranges.

    7. Your Lyrics Aren’t Strong Enough – We listened to some GOOD songs with average lyrics up through the first chorus.  However, the GREAT songs with KILLER lyrics kept our attention through the 2nd chorus…because we just couldn’t wait to hear what the writer was going to say next; simple artistic curiosity kept us inside that song.

    8. You Don’t Honor The Purpose Of The Recording – What is a song demo supposed to do for the writer, EXACTLY?  It is supposed to sell the SONG.  Specifically the lyric, melody, and vibe of the song; anything more than that production wise and you are doing yourself a disservice and frankly wasting money on your demo.

    9. You Over Produced Your Demo – I get the impulse for any writer or artist to do this.  It’s really almost a rite of passage; I guess we ALL have to learn “less is more” by doing it.  So for writers with very little studio experience, you tend to artistically get caught somewhere between a song demo and an epic album track.  Stick to the song demo side. DO NOT OVERPRODUCE your song demo!  Put BGV’s only where they are obvious to lift the chorus.  DO NOT put Ooh’s and Ahh’s and fill in some holes with BGV’s because your taste may not be the taste of the person you are pitching to.  Don’t add to many guitar tracks or color instruments, keep it as clean and sparse is possible. You really want to leave room for the producer to do their job and take the song to another level; remember this should be a solid blue print for a song, not a production idea for a record.  Another good reason not to overproduce is that tastes and trends change constantly.  We definitely heard a few older demos (like more than 10 or 15 years) with production that was cool and in style 10 or 15 years ago but not cool now; so the production choices personally took me out of the song for a second or two.  If they were never there, the demo will certainly be more “durable” over time.

    10. Bad Vocal Tuning – Holy cow we had a demo where the damn tuning was borderline Cher!  It’s unbelievably distracting!  Hire a pro singer, y’all, it really is the way to go if you are trying to compete with the big boys.

    By Johnny Dwinell via Music Clout

  • 5 Tips For Improving Your First Live Shows

    Live shows are important at every stage of most musician's careers whether or not they are touring artists. Live shows are where musicians and hardcore fans fall in love, break up, reunite and grow old together. For some folks live shows are the only place music truly exists. So whether you intend to be a touring monster or plan an elusive life of rare appearances, you need to have a solid live show. Here are some tips for improving your performances with a focus on beginners.

    Prescription PR's Chris Singleton recently shared some thoughts on "how to improve your live performances" with some inspiration from The Beatles.

    I'm using Singleton's tips as a jumping off point for the following take on what new performers can do to improve their shows.

    5 Tips For Improving Your First Live Shows

    1. Perform a lot in diverse settings

    There's nothing like doing a heck of a lot of shows to find your place on stage. If you're a solo or small act with limited gear, then the ranges of places you can play are nearly unlimited if you are willing to play for free. "Get out of your comfort zone" and take opportunities that may well put you in front of skeptical audiences. You'll learn from that too.

    2. "Differentiate your band from other acts"

    Chris Singleton encourages musicians to "mach schau" (make show) as Bruno Koschmider encouraged the early Beatles. While that doesn't have to mean do crazy theatrical stuff to delight the crowd, though that's not a bad idea if you can pull it off, it does mean you should consider every aspect of your self-presentation and search for what can define you as an act.

    Some musicians are always in costume, others save the best looks for the stage. But something as simple as making a conscious choice about what you're wearing, whether it's a vintage tee of a dead band or an all black ensemble, is part of what will distinguish you as an act to which fans can relate.

    As you spend more time onstage, you can also experiment with ways of presenting your music. If your songs suggest that some rolling around onstage and tearing your clothes into bits needs to be done, go for it! If carefully staged presentations with designated soloists for each song and an elegant yet nonintrusive lighting show is your thing, that works too.

    The point is to find a distinctive way of presenting yourself that's tied to your music and, yes, pleases your audience.

    3. Connect from the stage

    As you play out more notice how you interact with your audience. Even before and after your song or set, your behavior affects how you're viewed. But your onstage interactions are most clearly part of your act.

    For some musicians that may start with simply making periodic eye contact or commenting on something specific to the time or place to which that audience will relate. If you're already comfortable with that kind of thing, perhaps explore (short)storytelling moments or other ways of giving your audience more context. Just remember to keep the focus on the music.

    And if your tendency is to be really withdrawn or really pissed at the crowd, then you have the option of gradually shifting that stance towards positive communication or taking it deep and using it to define your act.

    4. Videotape your show and study that tape

    These days it's an incredibly mundane thing to get some footage of your performance so, if nothing else, get a look at yourself from an objective perspective just like you might check out a mirror on your way out the door.

    But to really benefit from video, plan to get decent footage that includes your stage entry, stuff that happens between songs and your exit. Those are all part of your show and some acts undermine themselves by only taking the songs seriously.

    Check it out with nobody around and check it out with a sharp eye at your side. It doesn't have to be a complicated process in order to reap high returns for taking this process seriously.

    5. Get informed feedback

    Chris Singleton suggests asking "(ideally impartial) members of your audience" for feedback after your show. But it's really hard to evaluate feedback if you haven't evaluated the person giving the feedback.

    One thing I learned in San Francisco: Even the worst drag queen has a following.

    If you're serious about performing you want to seek out feedback from those who have either done what you're doing, done what you're hoping to do or have an understanding of the stage that crosses genres. In fact, seeking out someone with theater training might be a really powerful way to get an informed eye and an open minded-response.

    6. Take every show seriously

    It's so offensive to the audience members present when a performer focuses on their disappointment at the size or responsiveness of the crowd. Do the best job you can everytime. Maybe afterwards it will still feel disappointing but, by building with those who are present and by reaffirming your commitment to your art every time you perform, you will still come out ahead.

    Are You Willing To Make The Investment In Your Career?

    By Clyde Smith via hypebot

  • 8 Steps to Your First Song: From Idea to Professional Production

    It’s always exciting to hit upon a song idea which can be the next big sensation.

     But translating that idea into a song or an album can be a daunting task, especially if music production is new for you.

     In this article we will demystify the process of creating songs from scratch.

     A song starts with either a catchy melody or a set of powerful lyrics. Then music is added to the song, the song is given a structure and then it is recorded and goes for final post production. Let us look at each of these processes in detail.

     1. Tune/melody:

    The basic starting point is the tune or the melody you have in your mind.

    To give an example of melody- think of your favorite song. Now just hum the song, without any words.That’s right- the bare humming, without any music or a word is called the melody of the song.

    It might sound very basic, but it is the heart of the song. The melody has to be catchy and something your listeners can connect to.

    2. Lyrics:

    The melody needs a good set of lyrics which can express your thoughts and ideas.

    You can either hire a lyricist or you can write your own. These two steps are interchangeable as well.

    Sometimes you might have a few lines of lyrics first and then set them to a particular melody. Either approach is fine and there is no right or wrong way.

    3. Arrangement:

    Adding background music to the melody and lyrics is called arrangement.

    This includes drums, guitars, bass, strings, percussions or even exotic didgeridoo!

    If your song falls under the rock, blues, Jazz or similar genre wherein you require live instruments, you need to find some good band mates or session players. (Session players are professional players who will play according to your guidelines, but are not a part of your band. You need to pay them for their services.)

    You need to decide what kind of music will best suit your song. Your band mates or session musician will help you compose and give a structure to your song, including lead music, beats etc.

    If your song falls under the electronic genre like club, ambient, drum n bass, you need to hire an arranger who will arrange and compose the entire music for your song. Generally arrangers are a one man army and they have huge sound libraries and virtual instrument collections, which they use to compose the entire music for the song.

    4. Pre-production:

    Once the music of the song is finalized, you need to practice with your band members till you can play the entire song, with proper feel and without making any mistakes.

    By now the entire structure of your song is finalized and you pay attention to the vocals, chorus and the entire feel of how the song is being played. You can do improvisations on the tempo or playing to make the song better.

    5. Studio Recording:

    Once you are confident that your singers and musicians are very well rehearsed, you can book a studio for the final recording.

    If you have programmed the entire song, you will just need to record the vocals in the studio. But if your genre is rock etc, you will have to record all the instruments (drums, bass, guitars etc.) as well as the vocals in the studio.

    You might have to play the song multiple times to make sure everything sounds on pitch and right on tempo.

    6. Editing:

    Once you have recorded the final song and are happy with the recording, he sound engineer will edit the tracks.

    He will meticulously go over all the recorded tracks and remove errors, mistakes and noises. He might also correct the pitch and adjusts the tempo to make the song more tight.

    7. Mixing:

                Mixing at Chill Om Records

    Now the engineer has everything he needs to mix the song.

    This is the most critical phase of production which will determine the sonic quality of your song.

    All the different tracks, including the instruments and vocals are leveled, balanced, and EQ’d so that the final song sounds crisp and punchy. Each instrument is given its own stereo space. [Editor's note: if you've decided to do everything yourself up to this point and need help with mixing, we've got a community of engineers ready to help you out.]

    8. Mastering:

    Mixing is not enough to bring out the true sonic quality of the song.

    Once the track is mixed, it has to be mastered by a mastering engineer. This is the final step in the production chain. Mastering adds the final shine to the song, making it sound, loud, clean and professional. Generally you hire another studio which specializes in mastering and has a dedicated mastering engineer.

    Once the song is mastered, your song is ready to be broadcasted! You can use various online marketing services, radios and record companies to market and promote your song. So go on, make some cool songs and you never know you could be the next Beatles!

    All the best for your recordings!

    By Rajiv Agarwal via Music Clout

  • 5 Steps To Improving Your Singing For Gigs

    The great thing about live performance, in the moment live recordings and generally singing around the house a cappella is the opportunity for random and unexpected moments of genius. Or even mistakes. But one woman’s mistake is another man’s moment of inspired revelation. Honest.

    If you want to improve your singing for live gigs, the trick to dealing with unpredictable circumstances is being able to improvise, concentrate and still have fun. Here’s a technique I use, involving singing along to my favourite song, that I use to improve my singing for gigs:

    1) Boost your power
    Play your favourite song through speakers (not headphones) and sing along with it, but turn it up a bit louder than usual so that you have to compete a little with the volume of the track in order to hear yourself over the top. Breathing as much as possible as though into your lower tummy area and standing in a sturdy position as if in an attempt to resist someone trying to push you over, you should be able to generate a more sustainable, higher volume. (If this doesn’t work for you, try leaning with your hands against a wall or door and your feet further away, so that you actually transfer your weight to your hands, and sing as though trying to “aim” your notes into the lower middle end of the wall.)

    Even a little bit of competing in volume with the track can help remind you to use more sustainable ways of singing louder so that you don’t strain your voice, which you can remember when you are in a gig situation and find yourself having to sing over the sound of other instruments (which may temporarily have been turned up louder in your monitor than you) or singing over general banter and drinks-clatter.

    2) Learn the damned song!
    If you are singing a new song and you aren’t 100% sure of the lyrics or get confused about which verse goes into the middle 8, singing along with a recording of it, over and over, may well be the best way of drumming it into your head so it becomes automatic. (That and listening to it everywhere you go, e.g. on headphones while travelling on the tube…) If you need to spend more time learning the lyrics, you’ll know from singing along to the song and noticing the parts where you come in late because you’ve forgotten the words. In that case, it’s often a good idea to also write out and re-write the lyrics, first just copying and then from memory, over and over so that you learn those intensively too. (This is super useful for those last minute gigs, where you’ve got very little pre-gig practise time.) Don’t stop for breaks or cups of tea until you’ve done 5 run-throughs of the song with no major errors or hesitations.

    3) Improvise, improvise, improvise
    Not only do you need to know the song well to perform it, but you need to know how to change it in the moment or add new parts to it. This is because you not only need to be able to be flexible about your performance to interact better with the audience, but also because if you do lose your way and make a mistake or someone in the audience distracts you, you can easily work around a mis-timed note or phrase and be creative with it. Creativity is your gift, so use it as often as possible! Having sung along to your track to learn it well and boost your strength in singing it, you’re ready to try the a cappella test.

    Sing the song on your own, giving yourself the starting note and see if you can get through the whole thing without losing your way. (Check you’re still in the same key by the end and maybe even record yourself to listen back to how you may have varied the tempo in places – were those choices or little mistakes?) Once you’re clear that you can stay on track with it, purposely try to change the very beginning and very end of the phrases in the song. Go up at the end of the line instead of down, or speed up a little at the beginning of the line but slow it down by the end. Play around with volume, tempo and even lyrics. Where could you add an extra line or change the lyric in some way to reference your audience? Where could you add in a line of another song in the same key that fits in with your genre of music? (If you’re a solo performer, this is how you show that playing solo can be an advantage over playing in a band because you are in control and you can adapt and change things as the mood takes you!) The further you can take the song away from the original but stay true to the feel, mood and start and end of the song, the more flexible you’ll feel as a singer, and therefore, the more confidence you’ll have that you can deal with anything.

    4) Improve your concentration
    Gigs are generally full of distractions, from the noise at the bar, to the other instrumentalists or sound engineer’s fiddling around with levels or even audience member “participation”… Your job is to be adaptable, but to stay on your game and sing your song! Try seeing if you can get through singing along with your song while having the TV or radio on in the background. Can you stay focussed on what you’re doing despite the distraction? If so, you’re on the money…!

    5) Have fun with it!
    Yes, fun. Remember that part? That’s what music of all forms should be, whether the fun is derived from getting through that tricky high-note bit and totally nailing it with a wide smile on your face or flouncing about in a Gaga-esque outfit while singing, it should still be fun.


    Make sure every practice session, whether singing along to a track or not, ends with a run-through (or two) purely to ‘have fun with it’. That could mean just trying to improvise some new ideas, sounds or embellishments into the song, or to put a bit of dancing into the performance or to sing it as loudly and confidently as you can. I often tell my clients to have a final go through to ‘play around with the song’ (improvise bits) and give themselves ‘permission’ to make mistakes. Trying new things often does lead to mistakes. But mistakes lead to learning, growing and improving, so it’s great to let yourself off the hook of being ‘perfect’ sometimes and see what happens….

    By Rowen Bridler via Music Clout

  • Simple and Solid Tips to Improve Your Sound During a Live Performance


    While it isn’t difficult to control the way in which your music sounds on a recording, live performances are a completely different story.

    When you record music you have to opportunity to manipulate and clean up sound that isn’t clear or of a low quality.

    Live performers on the other hand do not have the luxury of editing and fine-tuning their sound quality. These performances require musical artists to make adjustments for different venues and to coordinate the sounds of different instruments.

    For musicians looking to improve their live performances and to overcome these challenges here are five tips for better sound.

    Relative Instrument Volume

    One of the most basic and critical aspects of live performance quality is relative instrument volume. Ensuring that no single instrument overpowers the other elements of a band is key to having a clear, unified sound.

    Often times drums and guitar amplifiers overpower vocals, making them sound scratchy and drowned out. This is especially true within small venues as drums tend to be the loudest instrument on the stage. Practicing your performances and having your drummer learn to play at lower volumes will keep your vocals from becoming secondary and unheard.

    In terms of guitar amplifiers, advise your guitarists to keep them at a medium level to avoid sacrificing the sound of the other instruments. If the high volume is an integral part of the guitar’s sound, Audio Issues suggests pointing the amplifiers away from the audience to lessen their impact on the rest of the band.

    Microphone Positioning

    The way in which vocalists utilize and manage a microphone onstage greatly impacts the sound it produces.

    One mistake that many vocalists make is choking up, or positioning their hand too far up the microphone. If your hand is wrapped around the microphone covers up its rejection feedback system, making it difficult for sound technicians to manage the volume.

    Essentially, doing this will either make your mic screech with feedback, or make you sound muffled. Neither of these things are desirable.

    Inadvertently pointing the microphone at a monitor is another source of unwanted feedback. Avoid relaxing your arm or gesturing with the microphone near a monitor; otherwise you’ll deafen your audience with feedback.


    The way in which you adjust the levels of your equipment will depend upon the size, shape and acoustics of the venue.

    In particular, pay attention to bass during sound checks. If the room you’re performing in swallows up bass you may need to turn the bass amplifier up a few levels. On the other hand, a room with loud bass may require that you turn down bass amplifiers to find a clearer sound, one interment you won’t have to worry about is the Solinst model 122.

    The same goes for adjusting the treble, altering the pitches of vocals and drums and eliminating microphone feedback. Using an equalizer to find the proper levels for these settings will help your performances to have a more consistent sound regardless of the shape or size of the venue in which you are performing.

    It can often be difficult to generate a clear and quality sound while performing live. For musicians looking improve their sound, the aforementioned tips will make your live performances much better. You want your fans to get the most of your performance, so be sure to follow these tips to always keep them coming back for more!

    By Courtney Gordner  via Crowd Audio 

  • PHAYUL Writes : Delhi rock band dedicates music video to self immolators

    A Delhi based rock band has dedicated a music video to Tibet paying tribute to the Tibetans who have sacrificed their lives through self immolations. 

    Titled ‘Freedom’, the music video calls the world to unite for Tibet. “There is a lack of unification among the rest of the world that is helping China to continue its repression in Tibet. We fail to understand that why the world is not standing up together,” the band’s frontman Arjun Singh Rawal said.

    Arjun said the series of self-immolation protests in Tibet has inspired him to write the song. Chill Om Records, India's leading Independent Record Label has teamed up with Arjun to support the Tibet cause. 

         Arjun's Debut album 'Beer Pong' released by Times Music

    Varun Arora, the band manager, said they had no clue initially how they could help Tibet. All they had in mind was to help Tibet's struggle get noticed. “All we could do for it was through our music. Because we believe Music has the power to change people.”

    “This music video is a gift to the Dalai Lama and we live by the Dalai Lama’s thoughts, and believe that Tibet would be free one day”, said Arjun. 

    “Freedom” was released last month and was recorded by Chill Om Records, India’s leading independent record label. 

    A part of lyrics reads, “Everything you made, And everything you took away for good, I fought for the love and for the peace in you, I crossed the line for you, I sacrificed for you, I crossed the line for you and, Broke away...”

    The band wants all the Tibetan patriots to know that they support them. The song is made available for free download here 

    The band's debut album, ‘Beer Pong’ was released on Times Music. The band takes you back to the hard-rock scene, combines several contemporary elements of alternative rock and remains very open to experimenting with variety of other genres, said Varun. 

    Watch "FREEDOM below"


    via Phayul

  • Weiland wonders why Bennington bothered

    Scott Weiland says he can’t understand why Chester Bennington took his job in Stone Temple Pilots – because he’s already making enough money with Linkin Park.

    Bennington was revealed as STP’s new frontman after they fired Weiland in February, and later said they’d run out of patience with the “toxic” environment he generated.

    Both parties have launched lawsuits against the other, with Weiland claiming his former colleagues have no right to use the STP title if he’s not present.

    During a solo show in Philadephia at the weekend, Weiland – who’d previously said he had no grudge against Bennington – responded to fans who’d begun chanting “Fuck you, Chester.”

    He told them: “It’s just a big ol’ planet, a big ol’ universe it all sort of works out anyway. Actually, Chester has his own band that makes a lot of money – I’m not sure why he joined a band that’s actually nameless.”

    Taking a different tack he added: “I shouldn’t have said anything at all. I apologise to those fans out there who feel like they’re caught in the middle of it, because I sure feel like I’m caught in the middle of it emotionally. All I want to do is play music.”

    Weiland was fired by Velvet Revolver in 2008, and bassist Duff McKagan recently wished his former bandmate the best.

    Last week he told KFLY: “The Stone Temple Pilots guys, they had to do what they had to do. I understood. I went through the same thing with their singer. It’s utterly frustrating when things are going good and one guy’s kind of dragging it down – or sideways at least.”

    via Classic Rock

  • Top 5 Technical Terms You Need In A Studio


    The Chill Om Studio

    As a singer, going into a studio for the first time might seem a bit daunting. With a sound engineer referring to things like, “dB”, “compression” and “gating”, you could feel a bit lost. But fear not – here’s a quick glossary of the most important terms you need to know for doing some studio recording:

    1) dB = decibels.

    In other words the level of sound, or ‘volume’ as referred to conversationally by non-sound engineers. If you want something to be fractionally louder, ask for it to be turned up a few dB [pronounced: deebee] and you’ll sound like a pro. (Or a geek, depending on how you say it, but it’s good to at least understand!)

    2) “Gating” = isolating the sounds you want and not recording the rest. This involves setting a volume level below which nothing will register. So if you sing with a few little lip-smacking sounds or breathing noises before you come onto the note, or you have some background low-level noise, all of which you’d rather didn’t get recorded, you can sometimes use this technique to fix the problem.

    3) “Compression” = this is used all the time in modern recordings for almost anything except classical music. If you want to have a strong, steady level of sound, then you set a certain level to be your lowest and a certain level to be your highest, so that anything that falls outside of that either has to be ‘turned up’ or ‘turned down’ as it is recorded. In practice, this means that if you have some breathy, quiet notes at the top of your range, the system you’re recording on will automatically boost the ‘volume’ to make it a bit louder, but equally, if you’re belting out some parts of the song at top volume, it will lessen the ‘volume’ so that it doesn’t go louder than the set required level. And thereafter, you can turn the whole recording up or down depending on how loud you want it to be. The reason classical music doesn’t do this, is because classical music is all about the nuance of tiny differences in volume and tone and you would lose all of that detail if you compressed the recording. On the other hand, it’s ideal for the sound on adverts. If you keep all adverts within a set ‘volume’ level, then all of them will be equally noticeable and no tiny nuances will be lost (or shown) from too wide a range in ‘volume’ between quiet and loud sounds. Hence why, when the adverts come on on TV, you have to reach for the remote to turn it down, because that film you were watching had lots of ‘volume’ range from very quiet to very loud, but the adverts are all set at ‘moderately loud’.

    4) “Gain” = The reason why I wrote ‘volume’ in inverted commas previously is because this is not the term used in recording studios for the level of sound from quiet to loud. If you want to “turn up the volume” you need to ask to “turn up the gain”.

    5) “Cans” = some sound engineers use this term, and it’s worth knowing because it’s such an easy little thing to otherwise fail to understand. It simply means – headphones.

    For those of you who’ve never set foot in a studio but are coming up to recording your first professional demo or album, hope that this ‘insider vocabulary’ proves useful!

    By Rowen B via howtosingforyourlife

  • Paris Hilton Opens Up About Djing..Can't Get Better Than This!

    The credibility of EDM was brought into question yesterday after the shock announcement that Paris Hilton was to become a resident at Ibiza superclub Amnesia. Wunderground caught up with the would be DJ to hear her side of the story.

    WGHi Paris, thank you very much for taking time out of your schedule to speak with us today!

    ParisThat’s OK Wunderground, I’ve always got time for the little people, you guys buy all my shit, so I’m really happy to be here!

    WGFirst off we would like to congratulate you on the announcement of your residency at Amnesia, why don’t you tell us a little bit about the night!

    Paris: Thank you! I’m so excited about it. So, it’s going to be called Foam and Diamonds and it’s going to be on every Wednesday from July 31st till August 31st. It’s going to be brilliant, there’ll be foam everywhere, I just love getting covered head to toe in foam where ever I am but especially when I’m in a club. I’ll be using diamond encrusted equipment too, which will really make the music sound classy. There’ll also be shops where people can buy anything from my brands, whether it’s perfume or make up or handbags you want you’ll be able to get it all and because it’s Ibiza I can pretty much charge whatever I want for it. Yay! It’s so totally awesome!

    WGWhat do you think of people saying that you have absolutely no talent as a DJ and that there are other people in the industry who have worked hard for years who actually deserve this kind of opportunity!

    ParisYou know what I say to these people? BOOOO!! They’re just haters, I mean DJing is easy right, you just get someone to make a CD for you with some songs on it, all you got to do is turn the volume up and down and look good. I think people saying that are just jealous of me because I’m so much prettier and richer than they are!

    WGYou do know that it’s the person who makes the CD for you that’s DJing not you, right?

    ParisDon’t be silly, just ask Steve Aoki or David Guetta, those guys are the best DJs in the world and they do the exact same as me. I mean David Guetta taught me, so I think I know what I’m doing!

    WG: Seriously though, you don’t really have any talent as a DJ, we seen your performance last year in Brazil and it was terrible, you even had someone hiding behind the DJ box who was controlling the mixer, have you been practicing?

    Paris: Yeah, I’ve been practicing really hard, I will be so much better than I was in Brazil, that was my first time ever, I’m really good now I even pick some of my own tunes. I really don’t like how this interview is going, it’s not about whether I have talent or not it’s about me being on stage, in front of all those people, looking fine and milking all the money that I can, out of something I really don’t know anything about! Next Question!!

    WGErm OK , sorry about that, lets move on shall we? Do you think it will be easier for you to make a break through as a reputable DJ now that there are more female DJs on the scene, with people like Maya Jane Coles and Laura Jones becoming household names?

    Paris: Who? Why would I want to talk about other women? I really don’t know anything about these people or being a reputable DJ, but I’ll tell you what I do know about, it’s Paris Hilton. It’s a brand that screams quality, it’s fashion, it’s music, it’s home made videos, it’s what people want and I’m not afraid to give it them!

    WG: Oh really Paris, just like you gave it to Rick Salomon?

    Paris: Fuck you Wunderground, I mean who the fuck are Wunderground anyway? I’m Paris Hilton, I don’t have to take this sort of shit off anyone, where the fuck is my agent? Someone’s getting sacked for this shit, where the fuck is my driver. Goddamnit!! I want to leave, this interview is over!

    WG: That’s great Paris, we got everything we needed, thank you!!

    Via Wunderground

  • The Tibet Post International writes about "FREEDOM"

    ArjunDharamshala: Chill Om Records India, India's leading Independent Record Label joins hands with Arjun, a New Delhi based Hard Rock band to strengthen the Tibetan voice for freedom and gear up to release their latest single, FREEDOM.

    Arjun is a Hard Rock band based in New Delhi. After the success of the first album, Arjun and Chill Om Records have come together for a great cause of raising the concern of 'Tibet Independence'. The distribution of the music is of 'Non Profit' nature as their main goal is to strengthen the Tibetan voice of freedom and garner awareness. The latest single is a song dedicated to every person who feels for Tibet. They add – 'Come together with us.. Stand up for a free Tibet!"

    Chill Om Records India distributes music all over the globe through the various legal online through 25000 worldwide stores. The Single, releasing on 15th July 2013, shall be available to all the fans free of cost on the Chill Om online Store.

    Watch the first teaser here -


    via The Tibet Post International

  • A Must Read for All Musicians : 7 social media Mistakes musicians make!

    7 Social Media Mistakes Musicians Should Avoid

    7 Social Media Mistakes Musicians Should Avoid

    A guest post by Franz Vitulli 

    Building a significant list of fans and followers on our social media pages is a crucial part of our business as musicpreneurs, and sometimes it requires time, work and research.

    The other side of this activity is that we have also to keep our fans from clicking the ‘unlike’ or ‘unfollow’ button. At this purpose there are some simple rules to follow and some mistakes to avoid.

    Here are seven of the most common mistakes many musicians make.

    1. Posting the same content on all networks at the same time.

    Tools like HootSuite let us post the same content on multiple pages (Facebook, Twitter, etc.). You think “how cool is that!”... well, it’s not. For three reasons. First of all, every social network has its own way of show things and what works / looks good on Facebook may not on Twitter and viceversa. Twitter, for example, doesn’t show Instagram pic previews anymore and sharing Instagram pics on Twitter can be less powerful than before. The second reason is strictly connected to the first one: every social network has its own typical kind of population, for example LinkedIn is industry-oriented, Google+ is still a marketers’ heaven, Facebook and Twitter are more mainstream, etc. Sharing different links on the different platforms will make you be more integrated within the media of choice. Third reason, more practical than the first two: the tags. Facebook, Twitter, Google+, etc. have different way to tag people: usually, on external social media management tools, if you write a post intended to go on different social media, you can prepare the post to tag for a social media, but chances are that that tag won’t work on another social media.

    And posting different content on different social media will work as an incentive for people to subscribe to all your pages. Otherwise, what’s the point in following you in more than a single social media site?

    2. Being just a ‘salesman’.

    I see all the time, in my social media news feeds, musicians who once per hour ask people to buy their albums, books, etc.

    Internet marketers agree on the fact that social media are not the best tools for selling what you have. Newsletters are definitely better in that field. Social media will make you nurture your relationships with fans and turn them in proud ambassadors of your music, but their impact on sales remains low.

    This is for a reason: people, on social media, want to relax. If you are there trying to sell all the time, you’ll become annoying in seconds. Use social media to provide value (share your songs, videos from Youtube, blog posts, music lessons etc.), sometimes driving fans where they can also buy your stuff.

    3. Inviting people you never interact with to like, retweet, etc. your content.

    We all have friends, fans and followers that we somehow exclude from our social daily routine. If you ask them to like, follow or retweet you, they will probably ignore your requests. Cultivate relationships as much as possible with nothing to ask in return, they will support you when needed.

    4. Inviting all your friends to your events on Facebook.

    Instead of inviting all your friends, target your invites towards people who can actually come to your event. I understand the urge to let people all over the world know that tonight you have a gig in a trendy club in London, but a status or a link on your timeline will be more than sufficient. There’s no need to invite people from Melbourne. Even because they will probably click on the ‘ignore all invites from this person’ button.

    5. Posting links without writing anything.

    It’s not engaging and will not stimulate your fans’ curiosity, whatever the shared content is.

    6. Posting too many automated posts / tweets

    This is another of those features provided by tools like HootSuite, but also by some email maketing softwares that once per day automatically post on your profiles asking to join your mailing list. The only automated tweet service I use is, a webapp that create an online newspaper with contents from sources and keywords of your choice. Every morning it makes your Twitter account tweet the new version of the newspaper along with three sources, that often retweet, reply or favorite that tweet.

    7. Sending the same direct message / post / tweet to whoever follows or likes you

    People don’t like impersonal messages, they sound like spam a lot. Instead of pasting every time the same message, adjust it according to whom the recipient is, and if you don’t have time, don’t send anything, it’s definitely better.

    About the author:

    Musician and linguist by education, Franz Vitulli is a bass guitarist, a music teacher and a freelancer in digital marketing, social media and all these 2.0 thingies.

    via Musicclout

    Follow him on Twitter: @FVgrooveDOTcom

    Circle him on Google Plus: Franz Vitulli

  • The Peel, The Pulp and The Pit - Morning Star!

    The definition of “minimalism” depends on what the listener is evaluating for. In my case, it’s “perpetual, subtle adventures,” and in this downtempo dreamsuite, you’ll find it.

    Title: Morningstar Artist: the Smokering

    THE PEEL: I had no previous experience with this artist, in fact the genre and production style were largely good and novel to me as well, so I offer you the benefit of continued curiosity and a pallet of associations derived from the world itself (and my mad noggin). As you may know, I spend a week with a record before taking up the pen for a review. It seems necessary to let the album unpack its things the way it wants to– it should have some freedom to interrelate my scene’s spacetime attributes with its own the way that it sees fit (I in fact recommend a solid week of intent listening for any new purchase, for that reason). So this week, I plugged in for a handful of listen-throughs on the go– I’m in traffic, I’m throwing a ball, I’m playing a conflicted hitman on the gamebox– this goes on at a natural pace for a few days, with the album in question laid into the queue multiple times amidst whatever other tunes I happen to be hungry for. After that, the following was written over two focused listens in solitude– no pings, no cats with lightsabers, no traffic lights, no grocery lines– just the album as the stage and the play.

    THE PULP : My house is usually spun with a dynamic span of hard and elaborate stuff, but sometimes you’ve got to chill. Maybe it isn’t quite a “chill” in this case. In fact, respectable English mightn’t even have a good word for it. If it did, that word would describe the same thing that “chill” does, only on a corresponding, mirrored little range on the opposite side of the temperature curve: What I’m saying is we need a single word for a ‘warm chill.’ You know two connotations for “chill”– an adjective and a verb– and you likely associate them both fairly readily when describing certain sonic works and the habits that you maintain when immersing your head in them, respectively. Let’s go ahead and claim both of them for the “warm” side now, in one word. If we had a word for the warm chill, it would describe what this L.A. duo in fact has brought to my house: Here is a basis for insulating all of our conscious margins with ease and confidence: latent victories lacing our unflexed limbs; slow-turns melding the lands of the living and the dreamers; reflecting notions pooled at the surface of the senses; the content congruent and lucid. Again, I’m an IDM guy– a speed freak. Usually, my psychosonic canvas curls and parts toward more excessively technical, obsessively description-defying structures, favoring the use of many elements– some tormented, some inchoate– to “tell” a series of succinct, first-person facts as a chain of surreal experience-referents. Morningstar finds me thumbing through a different menu altogether. As I mentioned before, beyond a few dozen seshes with the Buddha Bar jams that occasionally weave around the house as we, um, chill, my ears are fresh meat in this scene. I’m perceiving these warm margins. I must say this is a brainy score. The tracks’ rhythmic logic remains internally sturdy, while side-lying visually-oriented, naturally-textured grooves, where “groove” means “whatever the hell we happen to wanna do right now,” on the part of the album as their sum. In fact, that might just be our word. Genre-obsession can detract from our sense of attachment to an experience– an actual adventure– since terminology (and meta-/micro-terminology) is then our vessel for imparting it, but nod off and smell the sleeping salt, my friends: “ambient” means “of the world around you,” wherever you are, and if the music is still on, you’re still in the groove. Literally. Think of how the etch on a record surrounds the center. What’s at the center? The end. And are the grooves separate circles? Not at all: “They” are actually an impossibly, perfectly tightly-wound spiral. So, in giving the warm chill a name (the name “groove,” yes), let’s picture the totality of that unified spiral on the record. Are you at the center– the end? Are you in the impetus– when that minute crackle of dust tumbles off the needle? Yes and yes, cat. The kids used to dance. Before that, they rode scooters. Before that, they read poetry. I may not even have that in the right order (and, strictly speaking, all three are still happening), but the good news is:… “they” are just us anyway. We are always “the” kids. The groove is always now.

    THE PIT: As we cool off, recall what I mentioned above, about how the definition of minimalism depends on how tightly cinched one’s evaluation is on the overall spectrum of actual ‘complexity.’ On the far left, you have one beat– on the far right, all beats simultaneously, I suppose– and somewhere left of the mean you’ve got a stripe befitting a chill just warm enough for the hour. It flexes into the schema of your margins; then, it leaves margins of its own, and the moments that ensue fill those in turn. This is a body-high. The content of this journey is encoded in your own present and future volition. War cries; speed traps defied; smoke trails to fly by; lovers’ quaking sighs. Your passive participation is as symbiotic as your swelling senses and kinesis, magnetizing a soundtrack to magnify. So drop, part your lips, and trip it ’til you tip. As in any forum, in any language, if you’re saying it simply, you better say it well, and on that count, the Smokering doesn’t disappoint. End joined to beginning, Morningstar is the groove. And miles to go before we sleep: These miles are going to be memorable. xx)o_O} -

    Available at :  Amazon / Chemical Records UK / Chill Om Records India

    via Andrew Parker

  • Is This The Cost You Pay To Voice Your Opinion ?

    Political prisoners

    The cost of speaking out

    Jails in Tibet are full of political prisoners. Many are serving long-term sentences for voicing their opinions on the desperate situation in their country, sending emails to the outside world or printing illegal literature. 'Confessions' are often obtained through torture and trials take place in secret. Their exact number is unknown as many people simply disappear. This is just a selection:


    lolo crop2.jpg

    Tibetan singer Lolo was sentenced to six years in prison in February 2013. His crime was recording an album of 14 songs that called for Tibet's independence, unity of the Tibetan people and the return of the Dalai Lama.

    Soon after the album's release in 2012 the 30-year-old was arrested in eastern Tibet. He had no known links to protests or other activism.

    Read more about Lolo

    Panchen Lama

    11th_PanchenLama crop2.jpg

    One of the world's youngest political prisoners, the Panchen Lama was abducted in May 1995, when he was six. No one has seen or heard from him since and China has repeatedly ignored demands to confirm his safety and wellbeing.

    Not only is this a crime against an innocent child, but the Tibetan people.

    Read more about the Panchen Lama

    Dhondup Wangchen

    Dhondup Wangchen crop2.jpg

    Film maker Dhondup Wangchen was arrested in spring 2008 for making the documentary Leaving Fear Behind, where he interviewed ordinary Tibetans who
    bravely spoke out about the repression in their country.

    Charged with subversion, Dhondup was sentenced to six years in prison on 28 December 2009. The authorities failed to tell his relatives where the trial was taking place or the verdict.

    Read more about Dhondup Wangchen



    Yarphel was sentenced to 15 months in prison for his participation in a procession to mark the death of his nephew.

    He is a senior monk from Yershong Monastery who was 42 at the time of his arrest.

    It is not known how his trial was conducted or if his confession was obtained legally.

    Read more about Yarphel

    Tenzin Deleg Rinpoche

    Tenzin Deleg Rinpoche crop2.jpg

    Arrested in April 2002 with a colleague for alleged involvement in a bomb explosion, this respected monk and community leader was sentenced to death for his involvement in a bombing, despite a lack of evidence against him.

    Following an international campaign, his sentence was reduced to life imprisonment.

    Read more about Tenzin Deleg Rinpoche

    Norzin Wangmo

    norzin_wangmo crop.jpg

    Arrested for using the internet and phone to tell the world about the situation in Tibet, Walza Norzin Wangmo spent seven months in detention and received a five-year jail sentence on 3 November 2008.

    In March 2011, news emerged of a reduced sentence. She was due to be released in August 2012, but this has not been confirmed.

    Read more about Norzin Wangmo


    wangducolour crop.jpg

    The public health worker was charged with espionage for passing on information about crackdowns on Tibetan protesters via email and was sentenced to life in December 2008.

    Wangdu worked on an HIV/AIDS prevention project and had been promoting AIDS awareness in Tibet since 2001.

    Read more about Wangdu

    Phurbu Rinpoche

    phurbu rinpoche crop.jpg

    Phurbu Rinpoche was sentenced to eight and a half years in prison for possession of weapons and occupying state land. His lawyers claim his arrest was unlawful, the evidence unsound and that he has been tortured.

    Free Tibet believes that Phurbu was detained following peaceful demonstrations by nuns from Pangrina nunnery, where he is abbot, in order to deter local Tibetans from further protests.

    Read more about Phurbu Rinpoche

    Kunchok Tsephel

    Kunchok Tsephel crop.jpg

    The founder of a popular Tibetan literary website was sentenced to 15 years in November 2009 for 'divulging state secrets'.

    He was detained for nine months until his trial, which took place in secret.

    Kunchok's self-funded website, which promotes Tibetan culture and literature, has been closed on various occasions by the Chinese authorities.

    Read more about Kunchok Tsephel

    Dorje Tashi

    medium_Dorje Tashi_0.jpg

    Tibetan millionaire, hotel owner and Communist Party member Dorje is serving life in prison.

    He was detained shortly after the 2008 protests and found guilty of unspecified charges at a secret trial in Lhasa.

    Read more about Dorje Tashi

    Paljor Norbu

    paljornorbu crop2.jpg

    Paljor Norbu, who is in his eighties, was arrested by People's Armed Police in Lhasa in October 2008 for printing illegal materials - including the banned Tibetan national flag,

    His whereabouts are unknown.

    Read more about Paljor Norbu

    Bangri Tsamtrul Rinpoche

    bangri crop2.jpg

    In 1996, lama Bangri Rinpoche and his wife Nyima founded an orphanage in Lhasa. They were pillars of the Tibetan community until their arrest in 1999 for 'attempting to split the country'. Bangri is not due for release until 2021.

    Read more about Bangri Tsamtrul Rinpoche


    Chill Om Studio is a Gurgaon based fully functional recording, mixing, mastering facility. Wanna book it?
    Drop us a line at +91-1244269774 or mail us at 

  • How to Add Videos to Instagram

    Instagram has now given users the option of creating videos and sharing them with the Instagram community. What do you need to know about how to videos to Instagram?

    You will now notice on Instagram that you have clicked the camera icon you have a video icon alongside the camera icon.

    Instagram Video Step 1

    You then press on the red video record icon and hold it down to record. When you release the video pauses, and restarts when you hold again.  You can record up to 15 seconds of video.

    Instagram Video Step 2

    If you record a clip that you do not want to use you simply press the back icon and the last clip recorded will be erased. When you are finished recording you press “Next” and you can add filters.

    Instagram Video Step 3

    You can apply one of 13 filters to the video. If you are using an iPhone 4S or iPhone 5 there is an automatic stabilizer that will help steady video. The feature can be turned off by clicking on the shaky camera icon. Press “Next” when you are happy with your video.

    Instagram Video Step 4

    Now you can choose a cover shot for your video. Simply scroll through the small video still with the blue square at the bottom and choose one. Press “Next” again and you are ready to share your video.

    Instagram Video Step 5

    The update was released just a few days ago, over 5 million videos were uploaded to Instagram on the first day of its release. 

    Check this video shot at our studio by Instagram videos:


    Follow us at Instagram

    Chill Om Studios is a Gurgaon based recording, mixing, mastering facility. Guess what, we produce videos as well. Wanna book us? Drop us a line at +91-124-4269774 or mail us at


  • Eye To Eye : Pakistani Musician Goes Viral

    Pakistani artist Taher Shah's new song Eye to Eye has taken the Internet by storm.

    Dressed in an immaculate white suit, Taher's piercing blue eyes and luscious curls have you transfixed as he sings his heart out about love being transferred from one soul to another all through eyes.

    As he sways from side to side, with the paparazzi snapping away, Taher sings about sensational eyes, emotional eyes, colourful eyes, fabulous eyes, his eyes, my eyes, your eyes and everybody's eyes.

    The singer even has a special message for his fans about his song, "I wrote the lyrics with the vision to love one's especially express and convey the feelings of one marvelous love to each other with "EYE TO EYE" because I sincerely believes in "EYES" true love and encourages it (sic)," posted Taher on Twitter.

    Call the video weird, the lyrics truly heart-warming, doesn't matter. The Lyricist, Singer, Producer and Video Director of EYE TO EYE is rocking the current music scene.

    The song was originally released two months ago and has been airing on different music channels in Pakistan.

    Watch the making of "EYE TO EYE"


    However, the video has caught the attention of Twitterati in the last two days.

    Alveena@ After watching taher shah. Ankhen coma mey chali gai thi for 15 minutes.

    Maut Ka Farishta: That is it. Eye to Eye by Taher Shah is now playing on repeat. To hell with the mid-term.

    Watch, enjoy and fall in love Eye To Eye :


    P.S. If you don't want to make such kind of music, join the Chill Om Academy.
    Batches starting 10 July. Get the Academy Course Guide.

     via IndianExpress

  • Love him or hate him, you sure as hell can't ignore him.

    Admit it. If there’s a Yo Yo Honey Singh song playing in the background, you will either hum the lyrics or groove to its beat. Some unabashedly enjoy his music; others cringe at his lewd songs. While he is the name behind hits like Brown rang, Angrezi beat, High heel, Main sharabi, Dope shope, he is supposedly also infamous for the song Main Hoon Balatkari. Many have even gone to the extent of calling him a misogynist among other unflattering things. More so, after the Nirbhaya rape case last year. 

    While I’m on my way to meet Honey Singh, all sorts of thoughts cross my mind too. ‘Did he write the song? Did he not?’ And I confess, I enjoy his music. It makes me want to get up and dance. But the question is, can I think of him beyond that song? As sceptical as I am, one cannot deny his massive popularity and talent. 

    For Hridesh Singh (his real name) to come from a small town in Punjab and achieve international fame in a short span of six years was no easy task. And that too as an independent artiste, without the backing of the Hindi film industry.  Not many know that Honey Singh is actually Kareena Kapoor’s discovery. She was the one who heard Angrezi beat at a nightclub in Dubai and told hubby Saif Ali Khan to consider him for Cocktail.

    I am sipping coffee at a suburban hotel in Mumbai when the rapper enters. He smiles warmly and says instantly, “Please don’t ask me why my name is Yo Yo Honey Singh.” Before I can react, he states, “See, it’s simple. When I started making independent music a few years ago, international artistes like Akon and Eminem were big in India. Though our wannabe youth couldn’t understand a word in their songs, they sung them. And when I’d ask people why they liked these songs, they would say, ‘Feel the music man, it’s so cool’. So I stopped rapping and making music for others and decided to make my own music, which would have the style of Akon, Snoop Dog (now Lion) and Eminem but the lyrics would be in Hindi and Punjabi. I changed my name and added a Yo Yo in front of it to give it a relatable touch. Luckily, International Villager worked.” And now, people not only listen to Akon, Snoop Lion and Eminem but also to Honey Singh. “That was my intention,” he states. “I wanted to replace these artistes. Now Indians also understand rap lyrics.” Five minutes into our conversation and I know... Honey Singh is a man who speaks his mind. Says he, “According to me, I am the biggest superstar. Meri mummy ki nazar mein bhi there’s no bigger superstar than me. My mother is the one who always encouraged me to make music. Though my music is targeted at the youth, my mom enjoys it. My dad thinks my music is okay but my mom loves my songs. I have told her that in the next three years, I’ll be wearing a tuxedo and accepting a Grammy with her on stage. By singing a Hindi, Marathi, Punjabi or Telugu song. An Indian song. Not an English one,” he emphasises.

    After saying this, he characteristically breaks into a little rap.
    “Undh randh moon,
    Utha le apna phone, Baj rahi hai teri baby Kolaveri tune.
    From Mumbai to Marina, Asin se leke Kareena,
    Sabke BBM pe PING
    Aye, who is this Honey Singh?”

    As I burst into a fit of laughter, Honey explains to me why he rapped those lines. “Honey Singh will be the one to get India the international fame that the Black Eyed Peas got Philippines with Bebot bebot and Psy got Korea with Gangnam style. Even if a brown skin person has a good accent, he’s a wannabe if he sings in English. My music has reached everywhere in the world. From the natives in New Zealand and Australia to people in Nigeria and Kenya and all the way to Guwahati. They don’t understand the lyrics but an international director, who came to offer me a project, told me they feel the vibe. So I am doing abroad what international rappers did in India. And soon, I’ll do it better, Inshaallah.”   

    It’s Honey Singh’s no-nonsense attitude that seems to have clicked with the masses in general. Despite all the controversies around him, he’s minting money, making music, living life. And that’s proof enough that someone out there truly loves him. “I felt bad when I was surrounded by controversies,” he says, sincerely. “But I was confident that my fans’ opinions wouldn’t change. These millions of people haven’t become my fans after Angrezi beat or Lonely. They have been following me for years now, since the time I’ve been making Punjabi songs like Luck 28, etc. They know how I am, they know who I am. They know what I can or cannot do. I have only been working all these years and I guess yeh un logon ki karni hai, jo samajhte hain ki yeh chhora naya aaya hai, isko rok dete hain kisi tarah (My naysayers thought I was a newcomer so I could be stymied by controversies),” he takes a breather and adds, “I can assure you one thing. Jo main kar sakta hoon, kisi ka baap nahin kar sakta. Aur woh hai imaandaari se kaam (No one can do what I can and that’s work with sincerity). I don’t get involved in politics or put people down. My focus is only on how to reach the top.”

    Though Honey Singh’s concert in Delhi got cancelled last year and a police case was filed against him because of allegations that the unflattering song, Main Hoon Balatkari was his, he didn’t clarify anything. Says he, “What was the point in clearing the air? I let them talk. When all these allegations were leveled at me, a friend told me, ‘Beta, agar Amitabh Bachchan banna hai, toh seeti aur laat, dono khani padengi (if you want to succeed in life, be prepared for bouquets and brickbats)’. It’s a superstar’s life. Sab kuch milega. You just have to be prepared for it.” 

    The outrage even spilled over to the Hindi film industry, when some producers, directors and actors went up in arms against him. “Let me tell you something,” he cuts me in, “Ekta Kapoor called me a few days back. She wanted two songs for Ragini MMS 2. And because I couldn’t do the songs, she even asked me if she could use my number with Jazzy B, This party’s getting hot. I don’t care about what she and the others said about me. They are big people and so, they need to give statements according to the situation.”

    Needless to say, he cares a damn about his image. “What’s an image? Image hamesha ek fake aadmi ki hoti hai (It’s a fake man who has an image). A superstar always has an aura. So I don’t have any beep image, I got an aura because I’m a f#@%&*% superstar. I’ve even written a song called Baby I’m a superstar,” the singer reiterates with pride.

    Honey Singh’s lyrics have time and again come under the scanner for being too bold and offensive. But he begs to differ. Says he, “I am the voice of our country’s youth. I am not a saint that people will quit alcohol because of my songs or do drugs because of them. Today’s youth is intelligent. They know what they’re doing and they know what they want. I am just a voice who sings what he sees happening around him. My lyrics don’t have a literary content. My lyrics are not poetry. I write street lingo,” he asserts. “Even when you sit with your friends, ek aadhi beep toh chalti hi hogi na? (You must be using abusive language, no?) Times have changed. People’s way of communication has changed. So people are not talking like that because I am singing such stuff. I am singing these songs because people talk like that. My lyrics aren’t offensive or bold. Today’s society has become bold.”

    As we chat about the society and his music, the conversation slowly veers to relationships. And he’s rather pumped up about the topic. “You know, I have 562 girlfriends,” he states with a mischievous grin. “But I can leave them all in one day if I get Chitrangda Singh. Chitrangda isn’t from earth. She’s from Pandora. Woh ek alag planet se hi hai, she’s that beautiful. I have written a rap for her too,” he laughs, and instantly breaks into another small jig.

    “Maana tujhse pehle maine kaiyyon ko phera hai,
    Kaiyyon ko apne jaadu mein ghera hai,
    Par aaj, agar, tu haan kar de,
    Toh bhagwaan ki kasam, phir yeh Yo Yo tera hai”

    Hold your horses. So in love is Honey with Chitrangda that he doesn’t mind even adopting her son, Zorawar. “I love kids. You don’t know how well I’m going to take care of her son if she becomes mine. Kids love me too by the way. Uske husband (golfer, Jyoti Randhawa) ko bhi main samjha dunga (I’ll explain things to her husband). She’s a Goddess yaar.”Trade the arc lights on his future plans in the industry and he declares that he may never become a full-fledged movie composer. “It’s tough to make film music. It depends on the mood, character and story. I can’t make music according to someone else’s whims. So I’ll compose two or three songs for a film. At least for now. And I’ll never act. Our Hindi film industry is full of legends. There’s Akshay Kumar, Shah Rukh Khan, Salman Khan and Amitabh Bachchan. But India doesn’t have a Michael Jackson. I will give India their very own Michael Jackson.”

    He ends our chat with one of his proudest memories of last year. “According to the report on the most searched artistes on Google and YouTube in India in 2012, I was No. 1. All over the world, Gangnam style was No. 1 but in India, it was Brown rang with Gangnam at No. 2. High heel was fourth on that list. So I had two songs in the top five.” Well, love him or hate him, you sure as hell cannot ignore him.

    via Filmfare Written By Raedita Tandan

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