Live Review of Teen MortgageZebulon Los Angeles, CA Contact: ryanc@biz3.net Web: instagram.com/teen_mortgagePlayers: James Guile, vocals, guitar; Ed Barakauskas, drums A new sound has emerged amongst the latest wave of punk bands in the last 10 or so years. A surfy indie-influenced power-pop take on garage punk seems to be exactly the right mix of angst to get the younger generations two-stepping. Bands like Bad Nerves, Wine Lips, Stiff Richards, and Together Pangea have gone on to support legendary touring acts such as Weezer and The Darkness as well as play festivals like Punk Rock Bowling and Riot Fest. Emulating this same sound is D.C.-based duo Teen Mortgage. They were only on the Zebulon stage a mere 10 seconds before a pit erupted, painting the walls of the small venue with the flying bodies of sweaty teenagers. Despite minor sound issues in the beginning, the theme of anti-authoritarianism shone through. Gritty yet catchy punk songs were accompanied by early 2000s Thrasher skate videos playing in the background. Younger generations love to bask in nostalgia when it’s mixed with existential nihilism, and the audiovisual clash on display at the show highlighted just that.The politically charged nature of the lyrics contributed to said nihilism as several people screamed their hearts out to lyrics about greed and fascism. The night took a rather humorous turn as the band enacted a small intermission for water, accompanying the moment with the iconic Wii Shop Channel theme music played in the background. Shortly after, the passion reached an all-time high as several members of the audience attempted to stage dive (rather unsuccessfully). While the set was short by usual show standards, fans still got an opportunity to hear hits like “Oligarchy” and “Tunin In” as well as soon-to-be classics from the new record like “Ride” and “Control.” Teen Mortgage clearly prides itself on being a band that wears their influences on their sleeve, literally. Vocalist/Guitarist James Guile was rocking a B-52s shirt, while drummer Ed Barakauskas could be seen in a Type O Negative shirt. Later, when the band was mingling with the audience members after the show, Ed would go on to cite his shirt when we asked for a quote, stating “I don’t do well when put on the spot, but I can tell you that World Coming Down is the best Type O Negative album.” As we watch the state of semi-mainstream punk shift over time, Teen Mortgage will definitely be a band to look out for.The post Live Review of Teen Mortgage first appeared on Music Connection Magazine.

Do not settle.Ed Newton-Rex pens an open letter to the major music companies as they reportedly enter talks with Suno
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Pete Lally of Spectacle Live: In The TrenchesPete Lally is president and CEO of Spectacle Live, a concert promotion and management company with 10 venues throughout New England. He jumps into the live music trenches daily solving problems and working to sell more tickets.
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Learn if the SAG AFTRA musician fund has money for you NOW!5% of royalties collected by SoundExchange are paid to the SAG-AFRA Intellectual Property Rights Distribution Fund. If you are a nonfeatured musician or vocalist, you may have money waiting for you in this SAG AFTRA musician fund.
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Studio Spotlight: Eric Milos of Fever / Clear Lake Recording StudiosFever Recording and Clear Lake Recording Studios in Burbank, CA, have earned a reputation as one of the most artist-friendly, technically advanced, and vibe-rich facilities in the Los Angeles area. Behind the scenes is Eric Milos, owner and head engineer, who brings a passion for both technical precision and creative comfort to every project that walks through the door. With Dolby-certified Atmos mixing rooms, 24-hour lockouts, and a fully trained support staff, Fever/CLR is built to meet the needs of everyone from major label acts to indie producers.Music Connection sat down with Milos to talk about the evolution of the studio, the growing demand for spatial audio, and why creating a great vibe is just as important as having great gear.Clear Lake has been around for a while. How has the studio evolved into what it is today under your direction?Milos: Clear Lake started out as a go-to rock and metal room in the ‘80s, known for tracking big bands and label projects. By the ‘90s and 2000s, it became known as a great, accessible space for artists who wanted major studio results without spending their whole budget in Hollywood. When I took over in 2012, I renovated the facility but stayed true to that mission: deliver top-tier results, amazing rooms, and a smooth client experience—at a price point that makes sense for independent artists.I came up through Henson Recording Studios, so I saw what a truly professional operation looked like from the inside. Atmos mixing is now a big part of your offering. What sets your Atmos room apart from others in L.A.?Milos: We built a Dolby-certified 9.1.4 Atmos mix room with PMC monitors, the industry standard for immersive audio. Dolby came out and tuned the room to their spec, including the loudness curve and frequency response. That certification ensures what you hear in our room will translate to Apple Music, Tidal, and other platforms exactly as intended.Atmos isn’t just about having effects flying around your head. It’s about immersion—placing the listener inside a fully dimensional soundstage. For artists or producers preparing to mix in Atmos, what should they know?Milos: The easiest and most effective way to prep is to finish your stereo mix and then print stems—usually by instrument group—and send those in a prepped Pro Tools session or as consolidated audio files. That gives us the flexibility to place elements in the Atmos field.Sending over a full stereo session can work, but it’s less efficient for immersive mixing. A stem-based approach lets us translate your vision while making full use of the 3D space.Have you noticed changes in the types of artists or genres using the Atmos room?Milos: Absolutely. It’s not just pop and film scores anymore. Hip-hop, R&B, even indie rock artists are embracing it. We’ve done sessions where the original track was just a two-track beat and vocals, and it still benefits from Atmos—reverbs, backgrounds, FX, all become part of the immersive field. It’s not about changing your sound—it’s about enhancing the listener’s connection to it.What gear and features should visiting engineers or producers be excited about?Milos: Definitely the PMC speaker setup and Dolby certification, but beyond that, the room is just dialed. It’s transparent, accurate, and consistent. Engineers love that what they hear here will translate everywhere. We also make it easy to walk in and get started—no time wasted troubleshooting. The studio isn’t just technically dialed — it looks beautiful too. A lot of Atmos rooms are built like post-production suites: sterile and uninspired. With Studio B, we took a different approach. We put real thought into the visual impact, blending art deco design elements with curated furnishings to create a space that’s both functional and creatively inspiring.It’s also fully equipped for stereo mixing, vocal overdubs, and production sessions, making it a versatile environment no matter what format you’re working in.Client service is something you emphasize heavily. How does that play into the experience?Milos: We’re not a room-rental operation, we’re a full-service studio. Everyone on our team is trained in-house and understands how to maintain our standards. When you book a session, we prepare in advance, coordinate with your team, and make sure everything works before you even walk in the door.Let’s talk about your lockout rooms. What kind of clients do they attract, and what makes them special?Milos: Our lockout rooms are used by mixing engineers, producers, composers, podcasters—you name it. They offer 24-hour access, independent HVAC, and a professional atmosphere where you can work uninterrupted. You can customize the gear and the workflow but still have access to our techs and staff if you need support.Plus, bringing a client into a commercial facility says a lot about where you’re at in your career. It elevates your brand and gives your clients confidence.Looking forward, how do you see Fever and Clear Lake continuing to evolve with spatial audio and immersive production?Milos: Apple is all-in on spatial audio, and if you want your music to be featured on their playlists, it’s becoming essential to have an Atmos mix. We’re seeing that trend accelerate, and we’re making it easier for our clients to adapt to it—from mixing and delivery to file formatting and tech support. We’re going to keep expanding in that space. That means staying on top of gear, certification, and engineering standards while still maintaining a great vibe and customer-first approach.How would you describe the overall vibe of Fever and Clear Lake to someone who’s never been there?Milos: We’re pro, but relaxed. We care about the gear, the acoustics, and the specs—but we also care about the people and the process. It’s not a cold, clinical space. It’s a place where people feel welcome and inspired. You walk in, and we’ve got everything ready, the energy is right, and you’re free to just focus on the music. Our philosophy is simple: provide great sound, great service, and great vibes.For more information or to book a session, visit clearlakerecordingstudios.com or call 818-762-0707The post Studio Spotlight: Eric Milos of Fever / Clear Lake Recording Studios first appeared on Music Connection Magazine.

Confirmed: Bruno Crolot joins Believe as President, Label & Artist Solutions (LAS)Exec was previously Spotify’s Senior Director, Head of International Music
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U.S. Performing Rights are broken and unreasonable, says NIVAThe National Independent Venue Association (NIVA) says that U.S. performing rights are broken and is demanding change. The comments came in a new letter filed with the Copyright Office which is investigating U.S. Performing Rights Organizations (PROs).
The post U.S. Performing Rights are broken and unreasonable, says NIVA appeared first on Hypebot.

Email Marketing for Musicians Made EasyWant to grow your fanbase and make more money from music? Email Marketing for Musicians breaks down how email connects with fans and boosts income, without getting spammy.
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Classical Highlights for May 2025This year being the 150th anniversary of Maurice Ravel's birth, we are seeing more recordings of his music, such as Jean-Efflam Bavouzet's excellent, new traversal of the solo piano works. Yet there are other noteworthy releases to hear too, including Prokofiev's string quartets by the Quatuor Danel (pictured); a blend of classical music and spirituals by harpist Ashley Jackson; and Beatrice Rana's return to the music of Bach with four keyboard concertos.

Signing Stories: Militia VoxDate Signed: August 2024Label: Golden Robot RecordsType of Music: Alt Metal, Rock, Goth, Industrial, ProgBooking: Joy Collingbourne, joy@mobagency.comPublicity: Sarah Facciolo, Facci PR, sarah@faccipr.comA&R: Kim BencicWeb: militiavox.comSome artists are inherently suspicious of record labels. That’s especially true for singer, songwriter, visual artist, and all-around creative badass Militia Vox. As a teenager, she was in a band signed to Cleopatra Records. She recorded an album for them that ultimately got shelved, leaving a sour taste in her mouth. Also, as a woman of color who performs heavy music, she’s had to battle negative industry attitudes from many corners. “Any record deal I’ve been offered I turned down, because it was always contingent on changing something,” she divulges. “If they’re changing who you are, they don’t want you.” Besides, she’s been thriving on her own for years, earning her way to the stage and in the studio with artists such as Twisted Sister, L7, 24-7 Spyz, and Cyndi Lauper. Another act she became friendly with is Living Colour, including lead singer Corey Glover. One day, producerTony Bruno suggested she cover the '80s hit “It’s Only Love” by Bryan Adams and Tina Turner. Glover was Vox’s immediate choice for laying down the duet. Also on the cut are Living Colour’s Vernon Reid and Nuno Bettencourt of Extreme. Vox knew the track was special and wished to give it a bigger promotional boost than she could on her own. Wondering where to take it, Glover suggested Golden Robot Records. The four-octave rebel eached out and quickly received a response from the Sydney, Australia-based label. Happily, the head of A&R was already a fan. Besides wanting the single, Golden Robot desired everything else she had, including her all-female Judas Priest cover band, Judas Priestess. She scrutinized the contract and removed every trace of objectionable verbiage. “They met me halfway,” notes the stage performer and former TV host. “I would like to publicly thank Golden Robot for giving me a shot,” continues Vox, who recently made her Lincoln Center debut. “I feel incredibly humbled and grateful to be with them.”The post Signing Stories: Militia Vox first appeared on Music Connection Magazine.

Court rules NewJeans will be fined if they engage in independent promotional activities, amid contract dispute with HYBE’s ADORA court in Seoul has ordered K-pop group NewJeans to pay 1 billion won (USD $726,300) per member for each unauthorized activity outside their agency’s control, potentially totaling 5 billion won ($3.6 million) if all five members perform together. Multiple news outlets out of South Korea reported that the Seoul Central District Court on Friday … Continued
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20 years ago, labels targeted fandom. Will it work the second time around?As record labels push to monetize fandom yet again, the are reviving an old playbook. But will today’s artists play along? The recorded industry’s future may hinge on expanded rights deals and there ability to finally deliver on their promise, writes Tatiana Cirisano of MIDiA Research
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Live Music Industry News RoundupLast week we've shared major stories from the stage and beyond, including a critical look at Live Nation by the Wall Street Journal, why concerts tickets are so pricey, ticket resales, the NIVA conference and more.
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Sounds and Visions: Paul McCartneyBy Shana Nys Dambrot Rearview Mirror: Photographs, December 1963–February 1964 April 25–June 21, 2025 Gagosian, 456 North Camden Drive, Beverly Hills Our appetite for pictures of the Beatles is boundless across their many eras, but none so captivating as the early years. Regarding the fresh-faced, unbounded joy of their youth, balanced on the precipice of the mania that exploded circa 1963, with their floppy bangs and cute suits—it’s poignant to recall that innocence now, on the far side of decades. What makes Gagosian Gallery’s exhibition featuring photographs of that era unique, even amid the ocean of iconic existing pictures of that time, is that these were captured from the inside, by the ultimate insider photographer—Paul McCartney himself, and he’s really good at it. The three dozen assembled works are but a selection culled from a larger traveling project—Paul McCartney Photographs 1963–64: Eyes of the Storm, which debuted at London’s National Portrait Gallery in 2023 and is currently on view at the de Young in San Francisco through July 6—but the exhibition design goes to great lengths to evoke a museum setting with precious ephemera, enlarged contact sheets, and nostalgic video and sound augmenting the selection of moody self-portraits, jovial and pensive candid moments, crowds chasing them down city streets, and historic locations. Overall, the effect is like if Whit Stillman did a remake of A Hard Day’s Night. Actually, can someone make that happen please? Beyond the content, which would be compelling regardless, what comes through is McCartney’s genuine curiosity about his broadening horizons, and a desire to document and remember what it was like to experience it; seeing familiar moments through his reverse perspective feels fresh. As well, he was friends with artists, and it shows. The finesse of his instincts is genuinely impressive—for framing, finding decisive moments, teasing out intimacy and empathy in portraits of his cohort, embracing the lowkey and totally understandable ego in self-portrait mode, his sophisticated use of light and architectural opportunities, and his presence of mind in the face of his life changing in real time. gagosian.com/exhibitions/2025/paul-mccartneyThe post Sounds and Visions: Paul McCartney first appeared on Music Connection Magazine.

Up Close: K&K Insurance Group, Inc.kandkinsurance.comOrigin in Motorsports: Decades before K&K Insurance became a leading provider of sports, leisure, and entertainment insurance, its co-founder, Fort Wayne, IN businessman Nord Krauskopf, was a popular stock car racer. In the late '40s, the only insurance for this high-risk sport consisted of individual racers contributing to a fund that would help cover the costs in the event of an accident. Aware of a gap in the market, Krauskopf and his wife Teddi pitched a plan to Lloyd’s of London to create specialized insurance for race car drivers. Eighteen years after launching K&K Insurance for this purpose in 1952, their dedication to motorsports resulted in winning the Grand National Championship. In the '60s and '70s, they expanded into festival and fair insurance, and in the '80s took a broader approach that included sports, leisure, and event organization across the U.S. and Canada. Over the past 70+ years, K&K has also become one of the largest providers of insurance and claims resolution services for recreation, motorsports, and event organizations. Driven by their trademarked branding motto “Insuring the World’s Fun,” the company offers over 80 specialty insurance programs in numerous categories—ranging from Camps and Campgrounds, Events and Attractions, and Venues and Facilities to Instructors, Schools and Product Liability Insurance.Essential Operations: Staffed with experienced examiners, litigation specialists, and management personnel, K&K’s claims team offers decades of experience in the investigation and resolution of claims, providing quality claims management. The company employs more than 250 agents who perform a variety of traditional insurance company functions on behalf of the insurance companies they represent, allowing them to provide stellar service in sales, marketing, underwriting, loss control, and claims resolution. Through active involvement in industry associations, events, and conventions, its staff stays connected with current industry trends and challenges. Liability Insurance for Musicians: According to K&K Marketing Manager Lorena Hatfield, the company’s claims staff is well versed on the types of risks musicians face when they’re performing at an event, festival, or concert venue. If something should happen that prompts an audience member or facility owner to sue, the performers are often drawn into the lawsuit—and without insurance, they need to hire an attorney to determine liability. Whether it’s injury or property damage, with insurance coverage, K&K manages the process, reducing a musician’s stress considerably. Many facilities require this coverage in advance. There are three criteria for insuring musicians: 1) A group must have at least one member or representative who is at least 18 years old; 2) Annual gross income from the performing group’s activities cannot exceed $500,000 ($300,000 for an individual musician); and 3) No more than 30 members in a performing group. Coverage options are offered for both individual Performer’s Insurance and Entertainer and Musicians (Group) Program.Contact K&K Insurance Group, Inc. 800-637-4757 The post Up Close: K&K Insurance Group, Inc. first appeared on Music Connection Magazine.