soundlounge sonic branding blog» Sound of the Brand

Coke and Pepsi Add Fizz to the Sound of the Brand

soundlounge — Fri, 16 Oct 2009 09:35:17 +0000

At soundlounge we’re excited to see that giant brands such as Pepsi and Coca-Cola are recognising the benefits of using sound as a brand differentiator. Both brands have coincidently launched campaigns focused on sound and music. Both have also turned to so-called ‘crowdsourcing’ to provide their consumers with a more hands-on experience with the brand. And though both brands have realised that sound is one of the most powerful mediums at their disposal, have they gone far enough?

Let’s start with Coke. These guys have asked the public to send in recordings of themselves mimicking the sound of opening, pouring and enjoying a bottle of the famous fizzy drink, with the aim of later broadcasting these on TV. A forward-thinking and innovative approach – well-placed in a world where social media and user-generated content rule the roost. But what’s the long-term value to Coke of converting this one-off, tactical execution into something which has much more important ramifications? It’s not the first time Coke has used the ’sound of enjoyment’ concept, so lots of points for consistency. Coca-Cola has a long tradition of using music in advertising and the idea that the sound of the brand could come directly from the product itself is an unusual one. But does the fizz of a can opening and liquid being poured onto ice really capture the whole sound of the brand? Is it enough to differentiate it from other beverages out there and, more significantly, does is resonate on a meaningful level with Coke’s target consumers?

Pepsi have gone a different route. They are flirting with the idea of 15 minutes of fame by challenging the public to submit remixes of electro hop group LMFAO’s La La La. The brand’s latest celebrity endorser is Black Eyed Peas star and producer will.i.am who will judge the entries of the Ultimate Refresh competition. Historically, Pepsi has partnered up with a number of musicians including Justin Timberlake, Bob Dylan, Madonna and Mariah Carey. So is will.i.am the man today’s Pepsi drinkers across the globe will best identify with? Because remember, just three years ago, it was Mariah, a very different kind of musician with a very different fan base. It would appear that Pepsi sound branding is about associating with the ‘coolest’ stars rather than creating a unique, consistent sound identity, which reflects the brand and its consumers to their very core. There are also exclusivity issues with this campaign. To enter you need to be technologically savvy, relatively musical and have knowledge of remixing video clips. Okay, by following the instruction on the website it’s all pretty straightforward but a competition based on a relatively niche music genre (electro hop) could leave a big majority of Pepsi fans feeling alienated. And what happens in December when the competition is judged and the remix released to the masses? Will Pepsi have little choice but to move on to another new darling of the music world?

Finding the sound of the brand is about longevity – discovering a ‘musical DNA’ which encompasses not only a brand’s inherent values but also the values of those loyal to that brand. At soundlounge we strive to help companies identify and make better use of their individual sound assets, encouraging them to resonate with the consumer on a deeper, more meaningful level. In this way, we know that celebrated brands such as Pepsi and Coke will not only wow with their visuals but convey a consistent and impactful sound identity to a global audience across multiple platforms that matches with their now so powerful visual identities

soundlounge

Coke and Pepsi Add Fizz to the Sound of the Brand is a post from: soundlounge

Overtones: The Secret Spices of Musical Sauce

soundlounge — Mon, 10 Aug 2009 23:42:49 +0000

In sonic branding, much thought and effort goes into finding the perfect sounds to fit a brand’s style. Part of this process involves breaking these sounds into their essential ingredients and critiquing them: “That trumpet is a shade too mellow. Can we find one with more punch?” or “We need to decide if we want a brighter voice or a darker voice.”

Every musical detail counts in the advertising world. Think of the Intel Inside sound, one of the most memorable audio logos of all time – only three seconds long. Creator Walter Werzowa needed a keen ear to carefully design each sound. In the first note alone, he used over 20 different instruments and sounds!

Listen to the Intel sonic logo

Did you hear the anvil, tambourine, and electric spark? If you’re like most listeners, probably not (we’ll get to the reason for this later). But Werzowa hand-picked each of these sounds for a reason. He knew their unique sound “flavours” and was able to mix them perfectly into a memorable audio logo.

We can all tell when an instrument sounds right or wrong in a certain context. This is the “I’ll know it when I hear it” approach, which drives many sound branding decisions. But when it comes down to a few seconds of sound design, it’s important to understand why an instrument sounds mellow, punchy, bright, or dark.

With a little science and an open ear, we’ll explore some of the basic “spices” of sound undiscovered by the average listener – overtones.

Can you sing more than one note at the same time?

Tuvan musician Kongar-ol Ondar employs an age-old Tuvan tradition of overtone singing to sing two, three, or four notes at the same time in this clip from the Late Show with David Letterman:

“How did he do that?!” you might be thinking. Let’s take a closer look at overtones –

When you strike a key on the piano, how many tones are you playing?

If you said one, you’re right…and wrong. Common sense tells us that one piano key produces one tone. In reality, each key has a bit more magic than that.

Let’s say you play a middle C on the piano. The main sound we hear is obviously the note we call “middle C.” But when this single key is struck, it also unleashes a surge of other tones, seemingly out of thin air. Due to the natural resonances of the piano string, different, higher pitches than middle C are produced: G, E, B-flat, D…the list continues up into the musical stratosphere.

These higher pitches are the overtones that tag along with every key struck on a piano, every breath blown into a saxophone, every violin pluck, every vocal “oooo,” and every gong crash. But we don’t normally hear these overtones, because:

Overtones are generally much quieter than their fundamental tone (middle C in our example), except in rare instances. Kongar-ol Ondar’s singing is unique, because he can manipulate his voice’s overtones so that they’re louder than the fundamental, droning bass tone.
Overtones and their fundamental tone arrive at our ear almost simultaneously. Since our brains tend to group sounds in order to make sense of the world, we hear all of these different tones as one note. This illusion explains why we heard 20+ unique sounds as one in Werzowa’s Intel audio logo.

So if we don’t usually hear these individual overtones, why study them?

Think of a delicious pasta sauce. The average taste-tester can say, “It’s sweet. It’s salty. It’s delicious.” But that’s about it. A good cook, on the other hand, can tell you exactly what seasonings were used, based on the flavours of the end product. A cook could then recreate this sauce exactly, or vary it slightly to suit any type of pasta dish.

Overtones are a little like the spices that go into a pasta sauce. A unique blend of overtones emanate from every instrument, giving each a deliciously different sound. These distinctive overtone flavours (or timbres) explain why the same note sounds different on a clarinet, an oboe, and a flute.

Just like individual spices in a sauce, individual overtones are difficult to hear, but simply being aware of these musical ingredients is one step towards becoming a good sound “cook.” In the end, that’s what sound branding is all about: knowing which sound spices create which musical flavours and emotions, to cook up the perfect sound for a brand.

Charlie McCarron, Sound Consultant
soundlounge

Overtones: The Secret Spices of Musical Sauce is a post from: soundlounge

Do you have a Sound Style Guide? Audi does.

Why Brands Should Listen To Birds

soundlounge — Thu, 06 Aug 2009 05:25:16 +0000

From Frank Lloyd Wright’s organic architecture to the sticky burrs that inspired Velcro, nature has often played a role in creative design. What can the natural world teach us about brand recognition through the creative use of sound? Let’s take a look at one of nature’s best musicians who has a knack for sonic branding – the bird…

A male bird’s song may sound like a simple melody to the casual human listener. But to a female bird, this song acts as a revealing personal profile. Just a few notes will disclose a wealth of information concerning his mental health, testosterone levels, diseases carried, etc. Unlike a guitar-strumming human singer who easily melts the hearts of his groupies, a male bird undergoes intense scrutiny when singing to a potential mate. If a bird’s song misses the mark, it’s a reflection on his character, and the female will fly off to try her luck with another singer. On the other hand, if his performance meets her expectations for a suitable partner, he has won her heart and her trust.

Like a bird’s personally revealing song, quite a bit is divulged about a company through the music and sounds they choose to represent their brand. This means a brand’s sound choices may be a liability or an asset when trying to win the hearts of consumers. If a brand’s sound is not consistent across all marketing campaigns, or inconsistent with the company’s image, the consumer will likely question the brand’s credibility and “fly away” to the next product. On the other hand, with the right music supervision (a service provided by dedicated sound consultants like soundlounge), a consistent and well-crafted sound can strengthen any brand.

In addition to a consistent sound, both birds and brands need a distinctive sound to set them apart from their respective competitors.

The Distinctive Sound of Birds and Brands

With the highly critical ear of a female bird, you would think she could easily distinguish males of her own species from males of another bird species. But some research is showing that this may not always be the case, especially in lush environments like rainforests, where many species coexist and compete for the airwaves.

Zoologist Nathalie Seddon studied the songs of male Amazonian antbirds and found that various subspecies of antbirds sing differently to make it easier for their female counterparts to identify them (Seddon 2005). These results are fascinating, because bird songs were previously thought to evolve and diverge because of a separation effect. In other words, birds develop different “accents” by being isolated from each other, like North Americans and Australians. But instead, in Seddon’s study, these birds are all in one place. Her findings promote a relatively new theory of birdsong evolution, that different songs develop out of a necessity to be uniquely identified among a rainforest full of noise.

This finding may come as no surprise to marketers, who make it their duty to ask, “What makes our brand unique?” It’s incredibly important to have an answer to this question before setting foot in the commercial jungle, where brands with a confused sound will be “outsung” by more clever marketers. Noel Franus and Martyn Ware’s presentation “Demystifying Sonic Branding and Identity” makes the point that in the natural world, as well as the advertising world, “those that innovate to be heard will thrive.” It’s true – sound can be an excellent tool for setting your brand apart from competitors. But careful decisions must also be made along the way to ensure the customer hears the company’s core values in all sound and music choices.

If your brand is struggling to find its unique sound, contact us at soundlounge. We’ll help your brand sing above the rest.

Charlie McCarron, Sound Consultant
soundlounge

Why Brands Should Listen To Birds is a post from: soundlounge

Sound Branding in the Soundtrack of Life

soundlounge — Fri, 15 May 2009 13:26:54 +0000

We all know that brands love music but if they are to use sound to emotionally engage with consumers then understanding exactly how it affects them has to be at the very heart of sound branding. While great luminaries like Dr Daniel Levitin – Professor of Psychology and Behavioural Neuroscience and author of the groundbreaking This is Your Brain on Music – have been considering this on an intellectual level for many years, agencies still appear to be dragging their heels when it comes to putting a science to the art of sound branding. But last week, Levitin’s scientific paper Life Soundtrack (commissioned by Philips Consumer Electronics in 2007) re-emerged in the somewhat unlikely format of an article in Men’s Health Magazine. According to the report, music affects the human brain in a huge variety of ways, allowing us to utilise certain types or genres of music to help complete different tasks. This is supported by consumer analysis carried out by Entertainment Media Research (EMR) which found that an impressive 82 per cent of us use music to boost our spirits. It also revealed that 75 per cent of people use music when they are engaged in a physical activity from housework to the gym and even sex!

But it’s not just physical activities which can be enhanced or made easier by the presence of certain sound. “Music has been shown to have specific effects on the body’s physiology, including heart rate, respiration, sweating, and mental activity,” explains Levitin. As anyone with a roommate at university will have no doubt discovered, some students find it easier to work in silence while others struggle to stay interested in the task at hand without some background noise. The report shows, however, that it would be too simple for us to just look to genre or tempo to find the appropriate music for study. Indeed, when studying text or anything else that requires verbal cognition “it is better to have instrumental music so as not to saturate the limited capacity of the attention system for verbal material”. Something like Mike Oldfield’s Tubular Bells is therefore much more likely to get you through those finals than tunes packed with distracting lyrical content. Guess that rap CD is out then!

And in these financially tumultuous times, many of us find it difficult to relax in the evenings and dozing off to sleep can seem a mammoth task in itself. But people still use music to help them to drift off. For the majority, songs with a slower tempo and lighter beat are “contemplative, relaxing and hypnotic”, such as that well-known sleep inducer Brahms’ Lullaby. However, much of a song’s ability to relax you is not related to bmp but to its “feel” factor. Fleetwood Mac’s song Hypnotized, is found to be indeed hypnotic by many listeners despite its fast tempo of 108 bpm. “In general, relaxing and sleep-inducing music avoids rapid changes in timbre, pitch, loudness or rhythm,” says Levitin. “Music with a large dynamic range (a Beethoven or Mahler symphony) is going to pull the listener out of their reverie during the intense parts, as opposed to music with less of a dynamic range.” Suggested tracks for banishing those sleepless nights include Bach: Oboe Concertos, Triple Concerto, Flute Concerto, Bill Evans’ The Village Vanguard Sessions, Chopin Nocturnes or Peter, Paul & Mary’s Greatest Hits. What tracks send you off every time? And for all you lovers out there … what of romance? As many a young couple have discovered there is no simple formula here. However, it would appear that those that share musical tastes “usually find it easy to discover the optimal music for their romantic time together”.

Despite being originally unveiled more than two years ago, the publication of Levitin’s findings in a popular, glossy magazine this month proves that the issue of our response to music is becoming even more mainstream. It would seem that we don’t just want to simply listen, we are becoming ever more curious to understand why. From a brand perspective this now opens yet another dimension to the list of required insights for sound branding. Increasingly, understanding why and how sound is moderating arousal levels and concentration through its impact on the brain’s chemistry is becoming part of the equation. Because sound evokes such a visceral reaction beyond the control of the conscious mind, realising which songs will keep consumers shopping for longer, what tracks will stop viewers switching channels in an ad break and most importantly what sound connects a brand in a more genuine way to their consumers is fast moving from an interesting option to a must do.

At soundlounge we believe that it’s time for brands to start to apply the rigours of science to the art of music selection.

soundlounge

Sound Branding in the Soundtrack of Life is a post from: soundlounge

The Death of The Jingle?

soundlounge — Mon, 23 Mar 2009 10:55:05 +0000

Is the jingle an endangered species? Although classic tunes for brands like Shake and Vac, Smash and Mars stuck in your head for days at a time, straightforward jingles are few and far between in today’s advertisements. Perhaps the consumer has become too sophisticated for those cheesy (but admittedly catchy) tunes, and they now demand a more subtle, but no less consistent brand sound. Pieces of music like ‘Lakme’ for British Airways can have the same, if not more impact, than those old jingles, by re-enforcing a brand’s image and creating a sonic identity. Read more on BBC News.

soundlounge

The Death of The Jingle? is a post from: soundlounge

The U2 Sound: Can Brands Learn From Bands?

soundlounge — Thu, 05 Mar 2009 15:22:56 +0000

The threat of musical stagnation can be a creative band’s greatest fear. In striving to grow musically, creatively and commercially, musicians may feel they need to change their sound and or style of making music. However by doing this, a band may often cast-aside the musical elements that captivated their fans in the first place. So how can a band hold on to their musical equity and at the same time continue to evolve?

Whatever you may think about U2, they have constantly striven to adapt and develop their sound over the years, yet when we hear a U2 track we can instantly recognise their sound. Listen to this U2 mix over a 30-year period and you will see how the basic musical elements have changed very little over the years. From The Edge’s heavily-effected plucked guitar sound; Adam Clayton’s ‘one-note’ pounding bass style; Larry Mullen’s militaristic drumming and all topped-off by Bono’s passionate yelps, their sound has become so recognizable it is ripe for parody. So while this Irish quartet has sought to re-invent themselves a number of times over the years, they have always been aware of the value of holding on to the core elements that make-up their sound.

Besides the commercial implications of U2 as a brand, what can other brands learn from U2? To begin with, a brand needs to identify it’s own unique ‘Sound DNA’. The brand equivalent of U2’s effected plucked guitar sound, or pounding bass style. Every forward-thinking brand knows its: core values, customer base, logo, graphics etc. However, ask any brand guardian what style of music best represents their brand and you will probably get a blank look. Discovering the ‘Sound Of The Brand’ is the first step in creating a clear and consistent message through the use of music. Once a brand knows which musical elements best exemplify its values and ethos, like U2, it can change and adapt over years and territories without the risk of losing its equity.

Brian Kelly, Creative Director

soundlounge

The U2 Sound: Can Brands Learn From Bands? is a post from: soundlounge

What is sonic branding?

soundlounge — Mon, 16 Feb 2009 12:26:56 +0000

The ‘sound of the brand’ is more than the melody within eight octaves. It is not just about genre or lyrics. Nor does it necessarily relate to the choice of artist or a musical identity. The sound of the brand is about values, behaviour and how this is communicated. It is about reaching and engaging with the emotional touch points of the listener – a process that requires a deeper understanding than embracing their contextual touch points.

soundlounge

What is sonic branding? is a post from: soundlounge

Investing In The Sound Of The Brand

soundlounge — Mon, 09 Feb 2009 15:37:50 +0000

In the summer of 2007, dance duo Groove Armada sent shockwaves through the music production industry by opting out of a deal with a traditional record label. In April 2008, the duo, who have become a household name thanks in part to the use of their music in commercials, instead signed-up with Bacardi making them the first mainstream group to turn to a major brand for investment. Considering the majority of digital music is downloaded for free, through the expansive networks of user to user file shares – it is not difficult to imagine that as record companies’ profits suffer amid the current economic squeeze, the emerging trend of band-brand partnerships will continue to develop.

The one-year deal has sparked a mixed reaction from fans. Although the majority are in support of the partnership and feel the pair is a good brand fit, some have expressed surprise that the group would choose to associate so freely with such a major commercial corporation. But speaking to the BBC, the band’s Andy Cato defended the move. “You’ve always needed big business to get your music out there,” he explained. “That help used to be major record labels, now it’s all kinds of different things. If you say one corporate pound is any more or less corporate than another, then you’re wrong,” he added. “What is a record label if it’s not a commercial brand?” So how long will it take for other global brands to become the major investing foundation of the music industry? In some ways the ball has already started rolling.

In 2005, Toyota launched its own hip-hop record label Scion, while two years later coffee giant Starbucks unveiled the Hear Music label that produced the debut album of all-female group Antigone Rising. But while these are still relatively small endeavours in terms of music production there is clearly further scope for brands to seize the opportunities to work with the industry. These possibilities hail an exciting time for music production. The sound of the brand is becoming an increasingly important part of its promotion, a fact demonstrated by the success of the strategic use of music in commercials such as M&S and Sky HD But if brands want to make a success of their partnership with an artist or band they must have a good understanding of what their music represents and how their talent developed.

Throwing money at a project is far from enough, with brands instead needing to spend time working hard with those who have managed to get the best out of the musicians in the past. Brands must ensure they are seen by fans as a facilitators, helping groups and singers achieve things which are just not possible with a traditional record label. By working hard at aligning themselves with an artist, a brand can help ensure that the confidence of both the fan base and consumers of their products is in no way compromised. To form an alliance of this sort and find a “brand fit” between a sound and a product is no random act. It is a careful balance between the rigours of science and the art of creativity which can be used to make certain that music and brand complement each other and thus trigger success for both parties.

To start to unravel any of these complicated issues we only need return to the original reason why anyone would choose a brand rather than a record label to promote them. Fans are no longer listening to a good piece of music and heading out to the shops to buy it – they are instead logging onto the internet and downloading it for free. If fans are not prepared to pay, then, just like any other business, music production will become harder to maintain and artists will be forced to look elsewhere for support and sponsorship.

However the future of the music industry evolves, it certainly looks to be an exciting one –meanwhile, it’s important to recognise that the sound of the brand is seldom about sponsoring a pop star or rock group or even an promotional event. Corporations are turning to support from “sound of the brand” consultants, like soundlounge, to provide them with a complete and integrated understanding into how their musical investments can be maximised by resonating honestly with the fan and the consumer

Have you noticed any other band-brand partnerships? Which ones work? Which ones don’t? Share your thoughts.

soundlounge

Investing In The Sound Of The Brand is a post from: soundlounge

Obama – In Tune With the World?

soundlounge — Tue, 20 Jan 2009 10:39:15 +0000

The day of reckoning has finally arrived. Today, the much-lauded Barack Obama brand machine, which has been working around the clock to inspire and influence a global audience, will finally stand up and be counted. And so far, so good, with recent figures from CBS and the New York Times suggesting that 80 per cent of Americans feel positive about the next four years under the former Illinois senator. But while few would cast doubt on Obama’s personal sentiment during his stirring speeches, his success is by no means one solely of his own making.

Like all politicians, Obama has marketed himself to the max and earlier this week uniquely demonstrated the invaluable impact of a relatively new kind of branding. This technique uses music to represent a brand’s core beliefs and values – it’s about finding the sound of the brand. While we are all exposed to music in commercials on a regular basis, Sunday’s We Are One concert held at Washington DC’s Lincoln Memorial, was a first-class demonstration of the importance of music branding on a different scale. The event proved to those in attendance and indeed, the rest of the world, how sound can not only trigger strong emotions but target any number of different groups and simultaneously unite them.

So what is the “Sound of Obama”?

To understand the sound of the brand ‘Obama,’ we need only look to the concert’s line-up. Even the least cynical of the new president’s fans would be hard pressed to dispute that the majority of these music artists had been handpicked to target all corners of US society – with some European inspiration thrown in for good measure.

The festivities kicked off with The Boss himself Bruce Springsteen, king of the rousing anthem and the face of America’s white working class. He led the proceedings with the post-9/11 missive and Grammy Award-winning hit The Rising accompanied by a gospel choir – the perfect tribute to the US’ gospel traditions and spiritualism.

Joining him was Pete Seeger, a veteran folk singer and political activist took to the stage, banjo in hand, proudly singing out This Land Is Your Land – originally a hit for another US folk legend, Woody Guthrie. Meanwhile, Stevie Wonder, the master of soul who appeals to music fans from all backgrounds but none more so than traditional black Americans, thrilled the crowd with a rendition of Higher Ground. Also invited to perform were Usher, will.i.am and Mary J Blige – themselves living out the American dream and inspiring a young black American generation who are today celebrating an occasion their parents and grandparents could once only have dreamt of.

Brand Obama even ensured it moved the hearts of its European market by inviting the legendary Irish band U2 to perform on the steps of the Lincoln Memorial -the same spot where Martin Luther King Jr made is famous ‘I Have a dream’ speech 46 years prior to President Obama’s Inaugural concert. They sang Pride (In The Name Of Love) – a song inspired by Martin Luther King Jr (coincidentally on a national American holiday in his memory); by a group that, through their own music production, have become almost synonymous with justice, humanity and hope. Beyonce’s powerful rendition of America the Beautiful provided a fitting finale to this impeccably branded and highly emotive celebration.

Team Obama’s decision to hold a concert, which brought together voters from every section of American society, represented everything the president stands for. Like the release of a new U2 album, the latest Harry Potter book or the arrival of Sony’s next PlayStation gaming console, there are unimaginably high expectations for this new brand, which has changed the face of history before the White House starting pistol has even sounded. Sunday’s event served to capture the sound of the brand Obama, allowing US and indeed world citizens from any number of ethnic backgrounds and beliefs to stand side by side with a common understanding that they were, simultaneously, witnessing the end of an era and a new beginning.

soundlounge

Obama – In Tune With the World? is a post from: soundlounge

Radiohead In Sync With The Homeless

soundlounge — Wed, 14 Jan 2009 16:57:53 +0000

Radiohead, one of the UK’s most coveted bands (and until recently a reluctant source for synchronisation) have allowed one of their tracks to be used in the National Coalition for the Homeless’s most recent commercial. The use of Radiohead’s “MK 1” on the NCH commercial titled “It Can Happen to Anyone”, is a subtle and effective marriage of band and brand. However, even an avid listener of Radiohead might find it challenging to identify the music. Drawing the connection is not what the NCH is after; instead it undoubtedly relies on the emotional elements of the track which make the sound fit to picture naturally – and most importantly, to brand.

But why use Radiohead? How does it work? What does it tell us about sonic branding?

Considering the tone of the video, which shows a young female rewinding from her meal out of the waste-basket, into the alley-way where she has presumably spent the night in a cardboard box (a depressing setting) – the erie minor falsetto drone of Radiohead appropriately compliments the images. As the ad aims at raising awareness on the “It Can Happen To Anyone” tag-line, it evokes an anxious sound-scape with its music; and doesn’t turn it into a Radiohead commercial -who’s popularity and sonic recognition could have been a distraction.

Without question, this is big news around for those in the sync licensing industry who have been turned down by Radiohead in the past. Many have attempted to be the first to license the UK alt-rock giants, but most if not all have failed to land the deal on a TV campaign until now. Is this the start of artists who have been protective of their image starting to open up doors? Don’t get your hopes too high, but for all that saw the recent John Lewis commercial from the holiday season featuring the Beatles’s “From Me To You,” knows of the power of sound -certainly for the rarely marketed rock super-groups such as…Radiohead. One has to wonder weather or not John Lewis’s 27% percent sales increase in the last quarter of 2008, amid the looming economic recessions, had anything to do with the ’sound of the brand.’

For the NCH, the effectiveness of their commercial is made possible because of a wise creative ear on the grindstone. The use of the socially aware Radiohead with the National Coalition for the Homeless, is a strong example of a brand and sonic fit, where the music literally story-tells and hits you in the gut. Otherwise its just background noise, which is either forgotten or eliminated with the push of a button.

soundlounge

Radiohead In Sync With The Homeless is a post from: soundlounge