The iTunes store has changed the way listeners judge music by putting a 30-second time limit on their attention spans. Songwriters may cringe, but it’s now unavoidable. The hard truth is if a song doesn’t deliver in this short window of time, it simply won’t sell.

Working out how to sell product with 30 seconds of sound has been our focus at soundlounge for nearly 3 decades. Since commercials rarely use more than 30 seconds of music, we have to find songs or parts of songs that “sell” (i.e. make a memorable, emotional impression) in a very short amount of time. How?

1. Get to the hook quickly. Whilst romantic composers like Mahler and Strauss had the privilege of fans with hour-long musical attention spans, today’s songwriters have no such lattitude,. The 30 second sample must have a memorable ‘hook’ – a catchy guitar riff, a clever lyric, a killer beat. A good hook sticks in your head for weeks and compels you to listen to the track again and again. That’s the kind of song that spreads online like wildfire and gets chosen for that next Apple iPod commercial.

2. Create a distinctive sound ‘snapshot’. Advertisers and bands have at least one thing in common – they both need to be heard above the noise. In this area, advertisers can actually learn a thing or two from popular bands who have worked hard to consistently stand out from the crowd. Having a unique sound is part of the solution. But what if your listener doesn’t even give you 30 seconds? Many impatient listeners take an ‘audio snapshot’ of the first few seconds and judge a song based on its production quality and instrumentation.

3. Take us on a journey. Music moves us when it moves. Great songs give us something to anticipate from start to finish. They lead us along through imaginative melodies, chord progressions, and lyrical stories. 30 seconds might be short for a musical journey, but that may be all you’ve got so even a hint of oncoming change will go a long way. If your 30-second sample sounds stagnant, try varying the dynamics, instrumentation, or harmony to keep your audience wanting more.

Charlie McCarron, Sound Consultant
Ruth Simmons, CEO
soundlounge

Here at soundlounge, we’ve been working with brands to understand and develop their sound branding for nearly three decades. We’d like to share some of the most common sonic branding sins and some simple strategies you can apply for absolution.

1. LUST – Being seduced by the Music Industry. Being offered a link up with an iconic artist or a hit song can seem irresistible. And it’s true that well-known tracks in a commercial can create an instant emotional connection with consumers. But if the popularity of the song overshadows the advertiser’s message and consumers remember the song and not the product, it can prove to be a very expensive liaison.

SOLUTION: Resist the temptation to just look for hit tracks and big names. Have plan B and C and consider music from unknown or emerging artists; explore library music or commission an original composition. Re-record/re-invent an existing copyright so that you incorporate your brand sound DNA. Challenge and rationalise creative choices against fees and costs.

Read more…

Sonic branding – if you haven’t heard this term already, it’s the art of finding music and sounds to fit a brand’s identity. In the past, a brand’s sound was defined by a single catchy jingle. Jingles work well as mnemonic devices, but a one-song brand can’t stay fresh forever.

Imagine if The Beatles had been told by their record label “We think the song ‘Love Me Do’ defines you as a band. Just keep making songs exactly like that.” No self-respecting musician would listen to advice like this. And no brand should, either. Sonic branding today is not about finding one magical hit song. It’s about creating a complete sonic identify, a palette of sounds and music that can be used in any ad campaign. A strong sonic identity will be recognised even as the song selection changes.

Think of the palette of sounds that make up the classic Beatles style. Though their songwriting matured and musical tastes expanded over the years, The Beatles’ sonic identity was unmistakable. Listen to this medley:

Beatles Medley

So what about ‘Revolution 9’ and all the other crazy Beatles experiments? Although ‘Revolution 9’ is a far, far cry from ‘Love Me Do’, even this anomaly could have been predicted. Each new Beatles sound grew organically from roots in previous Beatles songs. ‘Revolution 9’ was inspired by experimental tape songs like the psychedelic ‘Tomorrow Never Knows’. And ‘Tomorrow Never Knows’ stole its thumping beat from the early ‘What You’re Doing’. The Beatles experimented, yes, but their music grew with their audience’s expectations of them as a band.

The bottom line for brands is that a sonic identity can evolve and expand over time, whereas a jingle cannot. Having a strong sonic identity does not mean being stuck with a certain melody, song, or genre. How boring would that be for advertisers, let alone their customers? Instead, a strong sonic identity allows a brand to cohesively adapt to the future, and stay fresh but recognisable.

Charlie McCarron, Sound Consultant

soundlounge

At soundlounge, we work with brands to create their sonic identities. In this three part series, we’ll explore one of the most famous sonic identities of all, The Beatles. In part one, we heard the unique Beatle sounds that made them famous. Part two continues on through The Beatles discography to find the songs that further expanded their musical palette. Subscribe to this blog for part three, in which we’ll discover a few tips about creating a sonic identity that you can apply to your brand’s sound.

In just seven years of studio recordings, The Beatles created some of the most influential albums of all time. But they also created some of the most influenced albums of their time – and not just by drugs. The Beatles’ legendary status gave them freedom to travel the world and hang out with talented musical contemporaries of all kinds, from Bob Dylan to Ravi Shankar. They embraced music far beyond their Liverpudlian roots, and The Beatles Sound evolved to accommodate new instruments and styles. Let’s listen to a few of them… Read more…

At soundlounge, we work with brands to create their sonic identities. In this three part series, we’ll explore one of the most famous sonic identities of all, The Beatles. Part one highlights the groundbreaking sounds from the early Beatles albums. Subscribe to this blog for parts two and three, in which we’ll study the later albums and discover a few tips about creating a sonic identity that you can apply to your brand’s sound.

“The great thing about The Beatles was that they never gave me the same thing twice…They gave me a new song, a new concept, and each one seemed to be better than the one before.”

But four decades later, we can no longer hear a Beatles record fresh off the press. Their musical innovations have become so intertwined in our musical repertoire we may easily forget what The Beatles sounded like to a new listener. So let’s shed some of our musical baggage, take a trip back in time, and listen to this new band with the funny moptop hair… Read more…

The soundlounge jukebox is our outlet for sharing the cream of the music industry with all. Updated every few weeks, it offers a chance for people who don’t have much time to sample good quality music, whether new releases or hidden gems from the archives. We receive music from all the majors, indies, publishers and sometimes the artists themselves and will bring to your desk (and attention) some of the most interesting and diverse music out there.

Visit the soundlounge jukebox to hear the following tracks.

Love You Better – The Maccabees
After breaking onto the scene in 2004 with a song about a swimming pool, the Maccabees seem to have grown up. Their first album had a innocent charm in its angular songs and with the help of Orlando Weeks’ distinctive vocals they carved themselves a place in a scene full of bands trying to be the Libertines. Their second album sees the arrival of Markus Dravs, producer of such acts as Coldplay and the Arcade Fire and it’s his work with the latter that really comes through here. There’s a lot more to come from this lot so stay tuned.

Zero – Malcolm Middleton
Malcolm Middleton has been releasing music since 1995. Originally he was one half of folk rock outfit Arab Strap but since 2006, after six studio albums, he embarked on a solo career that’s has seen him release five albums. His most recent offering, from which this track is taken, sadly may be his last. He has stated that while he will continue with a career in music he may start to write for other people or simply change his name. For what it’s worth, I’d like him to carry on with his solo career so if you’re reading Malcolm, don’t stop making your musics.

Psychic City – YACHT
Jona Bechtolt formed YACHT in 2003 after leaving another Portland band, The Blow. Until 2008, YACHT was a solo act but for his most recent album, ‘See Mystery Lights’, he as teamed up with Claire L. Evans who contributes vocals to many of the new songs. The introduction of Claire seems to have allowed YACHT to evolve into a band with more pop sensibilities than before although the odd production quirks that give Bechtolt’s music so much character remain. It’s a weird one but well worth checking out.

Loading – Knuckles
This one’s a bit of fun. Taken from the ‘Loading EP’, Parisian electro producer Knuckles has turned out a real crowd pleaser. It’s a floor filler that almost guarantees to get the crowd jumping, something that the enigmatic DJ/Producer/remixer, Fake Blood has cottoned onto. He plays it live regularly and also included it in his Radio 1 essential mix. Something for the weekend. Enjoy.

Growls Garden – Clark
Another recent Warp release, the new album from Clark sees him raise the bar for anyone else in his sphere. On previous albums like Boy Riddle and Clarence Park he experimented with abstract tones and textures and occasionally dropped in some of the hard tech that he’s known for now. His previous album, Turning Dragons, saw him go straight down the hard tech route, which belied his true talent. Here however he combines his original experimentation with some bone shattering beats and bass lines. Not for the faint hearted.

Lovers’ Carvings – Bibio
Recommended to Warp records by the now legendary Boards Of Canada this album is Bibio’s first release on the illustrious label. The recommendation seemed like an obvious one as his sound has always been close to the Scottish songsmiths’ but this album has seen him move away from this somewhat. He draws upon a huge variety of styles creating an endlessly eclectic mix of tracks that could sound like a compilation if it wasn’t for the lingering influence of the Boards Of Canada. One of the most interesting albums of the year so far.

Listen to these tracks on the soundlounge jukebox.

Sam Nicholson, Creative Assistant
soundlounge

The soundlounge jukebox is our outlet for sharing the cream of the music industry with all. Updated every few weeks, it offers a chance for people who don’t have much time to sample good quality music, whether new releases or hidden gems from the archives. We receive music from all the majors, indies, publishers and sometimes the artists themselves and will bring to your desk (and attention) some of the most interesting and diverse music out there.

Visit the soundlounge jukebox to hear the following tracks.

Anyone For Tennis – Cream
Not one of Cream’s strongest moments but a tennis track nevertheless. Seemingly random lyrics which frankly have absolutely nothing to do with tennis are interspersed with the repeated phrase, ‘anyone for tennis, wouldn’t that be nice’. It would appear that the even the band weren’t too impressed with the song as demonstrated by their general demeanour in this clip, of course it may just have be the croaky introduction, have a look.

Bjorn Borg – The German Art Students
Testament to the enduring appeal of this Swedish master of tennis and his ‘sweat filled headband’ is this track by The German Art Students. Described by the members as a powerpop / punk rock band from Madison Wisconsin, they have been together in various formats since 1998. Very few tennis players have ever inspired a song but Bjorn Borg was not just a tennis player. His universal appeal went far beyond his mercurial tennis skills as his ‘hair flowing in the wind’ and ‘screaming teenage girls’ no doubt had an impact on his popularity. The fact that this song has been written so long after his retirement suggests that Bjorn Borg could enjoy many a revival as a retro icon.

Saga Africa (ambience secousse) – Yannick Noah
The Frenchman was one of the final conquerors of the masterful Borg and had a relatively successful career himself, winning the French Open in 1983. In 1991 he not only captained the French Davis cup team to victory against the US but also found time to release an album, Black Or What, from which this track is taken. Upon defeating the heavily favoured US team he coaxed the whole stadium into an impromptu rendition of his hit, fantastic promotion you may think, until you see the moment for yourself.

White Tennis Sneakers – Jan & Dean
Jan & Dean were not doubles partners, nor were they tennis players at all, at any level. They were in fact a musical duo of the surf rock persuasion, formed in high school after a football practice. It was at this time that Jan began playing with the kind of vocal arrangements that the Beach Boys rode to fame, five years before the great Brian Wilson began to with whom he went on to work with professionally.

Tennis Shoes – Doctor Dunbar’s Medicine Band
Hailing from Sweden, the home of that man Bjorn Borg, Doctor Dunbar’s Medicine Band are an Indie rock/pop band who have achieved limited success to date. Judging by the chorus of voices in the refrain it would appear that it is the entire band who love their tennis shoes. Whether they harbour any ambition to emulate the achievements of their countryman in the tennis sphere is unclear. For the time being they seem content with their musical endeavours.

Billie Jean – Michael Jackson
One of the great pop songs of all time about one of the great tennis players of all time. Billie Jean King had almost unrivalled success in the women’s game, winning 12 majors in a career that spanned over 15 years. This success is somewhat eclipsed, admittedly in an incomparable fashion, by the career of this song’s performer who managed 13 number ones during a solo career that spans from 1971 to the present day. Beat that.

Listen to these tracks on the soundlounge jukebox.

Sam Nicholson, Creative Assistant
soundlounge

The soundlounge jukebox is our outlet for sharing the cream of the music industry with all. Updated every few weeks, it offers a chance for people who don’t have much time to sample good quality music, whether new releases or hidden gems from the archives. We receive music from all the majors, indies, publishers and sometimes the artists themselves and will bring to your desk (and attention) some of the most interesting and diverse music out there.

Visit the soundlounge jukebox to hear the following tracks.

Seven – Fever Ray
The debut solo album from Fever Ray, an alias of Karin Dreijer Andersson of the Swedish electronic duo The Knife, along with her brother Olof Dreijer. Anderson revealed to one journalist that Fever Ray has its roots in sleep deprivation. That makes sense when you hear the album, which strips away the dance beats that grounded The Knife’s ‘Silent Shout’ album, leaving behind ominous clouds of electronics and a penchant for synthetically manipulating her vocals. This is an astonishingly stark and brooding record, built on the barest of electronic bones and brought to life through Andersson’s almost primal vocals. It’s not exactly plain sailing, and what may be bewitchingly hypnotic to some will sound a tad repetitive to others.

French Navy – Camera Obscura
Hailing from Glasgow, Camera Obscura formed in 1996 but it was five years before they released their first album, Biggest Bluest Hi-Fi in 2001. Since then they have released three further albums, the most recently being this year’s My Maudlin Career. They have always fought inevitable comparisons to other Glaswegian indie outfits such as Belle And Sebastian claiming they do not want to be part of a scene. Certainly their Phil Spector, wall of sound-esque production style sets them apart from most bands around at them moment. The playful strings and reverb heavy vocals hark back to a golden age of pop, long may it continue.

Speed – Quad Throw Salchow
I won’t even try to understand the name of this band, but ‘Speed’ is an album that oozes post-punk from every orifice. Reduced, electronic, mechanical, full of reverb, and with dark and venomous vocals courtesy of artist/producer O de Lanzac. The album builds layer upon repetitive layer to create a sense of disturbance and movement not unlike a cross-fertilization between Joy Division and The Fall’s early work. De Lanzac’s vocals burst over the mechanical backing like a raspy Patty Smith drugged and singing gibberish in the bath, which completely contrasts the mechanical beats. Both dark, diabolical and delerious at the same time.

It’s Only Been A Week – Skint & Demoralised
A duo consisting of Matt Abbott, an open-mic poet from Wakefield, and the mysterious Mini Dog, a so-far-anonymous Sheffield producer and musician. They ‘met’ on the internet after Dog (or should that be Mini?) came across Abbott while searching for a vocalist to put words to his music. It’s a match made in musical heaven: the duo’s debut album, Love And Other Catastrophes, is a fantastic slab of northern-soul-meets-indie-street poetry. They recorded it in New York with the great Dap-Kings. The Dap-Kings are most known in the UK for their work on Amy Winehouse’s Back to Black album and Mark Ronson’s Version. There’s not a bad track on this album and it was difficult choosing one for you listening pleasure – enjoy.

Kelly – Van She
I know you’ve probably had enough of 80’s influenced synth pop by now but this is a cracking track from Australian band Van She. They met at a rock band audition calling for musicians with influences including Sepultra, Entombed, Black Skull and Phil Collins. Ironically they were originally billed as the next fresh thing despite their reliance on 80’s influences, since then though their sound has become more textured and this is a great catchy tune for the summer.

Liar Lion – Wild Birds & Peacedrums
Wildbirds & Peacedrums are a contemporary experimental two-piece hailing from Sweden and consisting of husband and wife duo, singer Mariam Wallentin and drummer Andreas Werliin. Their instruments consist of her powerful vocals and his unorthodox percussion/drumming, resulting in a powerful, innovative sound. The resulting effect sits somewhere between folk, blues and jazz and their sound ranges from a gentle warble a tribal chant. This track goes some way to illustrate how they have evolved from their first album, which was relatively basic and stripped back. Here they incorporate more percussive elements and even a few electronic textures creating what feels like a much more complete sound.

Listen to these tracks on the soundlounge jukebox.

Enjoy! – Brian & Sam
soundlounge

The soundlounge jukebox is our outlet for sharing the cream of the music industry with all. Updated every few weeks, it offers a chance for people who don’t have much time to sample good quality music, whether new releases or hidden gems from the archives. We receive music from all the majors, indies, publishers and sometimes the artists themselves and will bring to your desk (and attention) some of the most interesting and diverse music out there.

Visit the soundlounge jukebox to hear the following tracks.

Blood Bank – Bon Iver
Justin Vernon’s first album since the breakup of his previous band, DeYarmond Edison, managed to reflect the chill that he doubtlessly experienced during the three months of isolation he spent in his father’s cabin, in the woods north of Wisconsin, recuperating from illness while maintaining a certain warmth in it’s heartfelt lyrics. His most recent release, the EP Blood Bank, continues this trend with four more beautifully crafted tracks. The title track offers another touchingly genuine yarn and the rest of the EP is definitely deserving of your time.

Warm Hands In Cold Fog – The Flashbulb
Benn Jordan, a.k.a. The Flashbulb, is surely one of the best producers of the last ten years but has missed out on the recognition that similar artists, such as Squarepusher, have received. As well as producing some fascinating albums, combining genres as diverse as electronica, IDM, breakcore, acid, ambient and classical, he freelances as a television and film composer and when he’s not getting lost in electrical storms over the English Channel he’s active as a jazz guitarist and drummer in his hometown of Chicago, talented chap. This track, taken from the masterful Soundtrack To A Vacant Life, is one of his more downbeat moments but his back catalogue is eclectic, extensive and well worth exploring.

My Girls – Animal Collective
For a long time The Animal Collective have been on the edge of popular indie culture, forever roaming free from convention. For the last almost decade they’ve experimented with effects, samples, field recordings and any other texture, appropriate or wildly inappropriate, quietly honing their sound. Their latest release, Merriweather Post Pavilion, sees them polish their sound to its most accessible. The Beach Boys comparisons can no longer be denied and its possible that preposterously wonderful sounding tracks like this will see them reach a wider audience. Watch their space.

Jump In (For Gilkey Elementary School) – High Places
The Animal Collective’s influence is beginning to permeate through the experimental reaches of contemporary music and the High Places are one group who have taken that sound and made it their own. Their music seems to breathe in the same way as the AC’s, tribal beats interchange with spacy samples but it has a much more lo-fi feel to it and Mary Pearson’s vocals add a lightness of touch throughout both their albums. This track is taken from their first EP, High Places: 03/07 – 09/07.

Sleepyhead – Passion Pit
Sun soaked, synth ridden, 80s influenced pop is enjoying a time skirting the limelight at the moment with bands like M83 and Empire Of The Sun making somewhat of a name for themselves. Passion Pit are the latest band to drop in their two pennies worth with the release of an EP, Chunk Of Change. Originally the EP was recorded as a gift for vocalist, Michael Angelakos’ then girlfriend. It’s popularity quickly grew throughout the couple’s college and beyond. A full-length studio album, Manners is on the way for a spring release.

My Baby Must Be A Magician – The Marvelettes
The Marvelettes formed in 1960 and became Motown’s first successful female group. They achieved nineteen top 40 R&B singles and one massive number one with Please Mr. Postman. The precedent they set influenced later Motown girl groups such as Martha and the Vandellas and The Supremes. Ultimately the group suffered as a result of the rise of The Supremes and the label’s decision to put most of their energy into promoting Diana Ross and Mary Wilson’s group. History will always show that it was The Marvelettes that gave Motown their first number one.

Listen to these tracks on the soundlounge jukebox.

Sam Nicholson, Creative Assistant
soundlounge

Photo by Paste Magazine

Paul Thomas Anderson’s film There Will Be Blood, is a tale of a misanthropic oil man Daniel Plainview (Daniel Day-Lewis) in California at the turn of the last century. Underscoring this powerful film, is a soundtrack composed by Radiohead’s, Jonny Greenwood. The music is often abrasive, dissonant, disturbing and always very loud. Though it’s not widely known, Greenwood is not new to orchestration, having completed one film score before (for an experimental documentary called ‘Bodysong’), in addition to being commissioned by the BBC to compose a piece called ‘Popcorn Superhet Receiver’, which is excerpted in TWBB and helped get him this commission. Along with Greenwood’s score there are selections from the works of Arvo Part, as well as Johannes Brahms’ ‘Concerto in D Major’.
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