Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, art rock and the "Krautrock" of bands like Kraftwerk, it arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s to the mid-1980s. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, while the mid-1970s saw the rise of electronic art musicians. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s. In Japan, Yellow Magic Orchestra introduced the TR-808 rhythm machine to popular music, the band would be a major influence on early British synth-pop acts; the development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop.
This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts in the US. "Synth-pop" is sometimes used interchangeably with "electropop", but "electropop" may denote a variant of synth-pop that places more emphasis on a harder, more electronic sound. In the mid to late 1980s, duos such as Erasure and Pet Shop Boys adopted a style, successful on the US dance charts, but by the end of the decade, the'new wave' synth-pop of bands such as A-ha and Alphaville was giving way to house music and techno. Interest in new wave synth-pop began to revive in the indietronica and electroclash movements in the late 1990s, in the 2000s synth-pop enjoyed a widespread revival and commercial success; the genre has received criticism for alleged lack of musicianship. Synth-pop music has established a place for the synthesizer as a major element of pop and rock music, directly influencing subsequent genres and has indirectly influenced many other genres, as well as individual recordings.
Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "...characterised by a broad set of values that eschewed rock playing styles and structures", which were replaced by "synthetic textures" and "robotic rigidity" defined by the limitations of the new technology, including monophonic synthesizers. Many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music; the result was minimalist, with grooves that were "typically woven together from simple repeated riffs with no harmonic'progression' to speak of". Early synth-pop has been described as "eerie and vaguely menacing", using droning electronics with little change in inflection. Common lyrical themes of synth-pop songs were isolation, urban anomie, feelings of being cold and hollow. In its second phase in the 1980s, the introduction of dance beats and more conventional rock instrumentation made the music warmer and catchier and contained within the conventions of three-minute pop.
Synthesizers were used to imitate the conventional and clichéd sound of orchestras and horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, compressed production, a more conventional drum sound. Lyrics were more optimistic, dealing with more traditional subject matter for pop music such as romance and aspiration. According to music writer Simon Reynolds, the hallmark of 1980s synth-pop was its "emotional, at times operatic singers" such as Marc Almond, Alison Moyet and Annie Lennox; because synthesizers removed the need for large groups of musicians, these singers were part of a duo where their partner played all the instrumentation. Although synth-pop in part arose from punk rock, it abandoned punk's emphasis on authenticity and pursued a deliberate artificiality, drawing on the critically derided forms such as disco and glam rock, it owed little to the foundations of early popular music in jazz, folk music or the blues, instead of looking to America, in its early stages, it consciously focused on European and Eastern European influences, which were reflected in band names like Spandau Ballet and songs like Ultravox's "Vienna".
Synth-pop saw a shift to a style more influenced by other genres, such as soul music. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, around the same time as rock music began to emerge as a distinct musical genre; the Mellotron, an electro-mechanical, polyphonic sample-playback keyboard was overtaken by the Moog synthesizer, created by Robert Moog in 1964, which produced electronically generated sounds. The portable Minimoog, which allowed much easier use in live performance was adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes. Instrumental prog rock was significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream and Faust to circumvent the language barrier, their synthesizer-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy M
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
Epic Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. the North American division of Japanese conglomerate Sony. The label was founded predominantly as a jazz and classical music label in 1953, but expanded its scope to include a more diverse range of genres, including pop, R&B, hip hop. Epic Records has released music by artists including Glenn Miller, Tammy Wynette, George Michael, The Yardbirds, Shakin Stevens, Cheap Trick, Meat Loaf, Stevie Ray Vaughan, Ted Nugent, Sly & the Family Stone, The Hollies, Celine Dion, ABBA, Culture Club, Dave Clark Five, Gloria Estefan, Pearl Jam, Rage Against the Machine, Michael Jackson. Along with Arista, Columbia and RCA Records, Epic is one of Sony Music Entertainment's four flagship record labels. Artists who have signed to Epic Records include French Montana, Fiona Apple, Sara Bareilles, Jennifer Lopez, Keyshia Cole, Hardwell, Fifth Harmony, Jennifer Hudson, Zara Larsson, Mariah Carey, Ozzy Osbourne, Judas Priest, Busta Rhymes, Rick Ross, 21 Savage, Travis Scott, DJ Khaled, Meghan Trainor, Camila Cabello, Swizz Beatz and Louis Tomlinson.
Epic Records was launched in 1953 by the Columbia Records unit of CBS for the purpose of marketing jazz and classical music that did not fit the theme of its more mainstream Columbia Records label. Initial classical music releases were from Philips Records which distributed Columbia product in Europe. Pop talent on co-owned Okeh Records were transferred to Epic which made Okeh a rhythm and blues label. Epic's bright-yellow and blue logo became a familiar trademark for many jazz and classical releases; this has included such notables as the Berlin Philharmonic, Charles Rosen, the Juilliard String Quartet, Antal Doráti conducting the Hague Philharmonic and George Szell conducting the Cleveland Orchestra. By 1960, Epic became better known for its signing of newer, fledgling acts. By the end of the 1960s, Epic earned its first gold records and had evolved into a formidable hit-making force in rock and roll, R&B and country music. Among its many acts, it included Roy Hamilton, Bobby Vinton, The Dave Clark Five, The Hollies, Tammy Wynette, The Yardbirds, July, Helen Shapiro and Jeff Beck.
Several of the British artists on the Epic roster during the 1960s were the result of CBS's Epic/Okeh units' international distribution deal with EMI. Epic was involved in a notable "trade" of artists. Graham Nash was signed to Epic because of his membership in The Hollies; when the newly formed Crosby, Stills & Nash wanted to sign with Atlantic Records, Ahmet Ertegün worked out a deal with Clive Davis whereby Richie Furay's new band Poco would sign with Epic. Epic's commercial success continued to grow in the 1970s with releases from ABBA in the UK, Cheap Trick, The Clash, Charlie Daniels, Heart, The Isley Brothers, The Jacksons, George Jones, Meat Loaf, Johnny Nash, Ted Nugent, REO Speedwagon, Minnie Riperton, Charlie Rich, Sly & the Family Stone, Steve Vai, Edgar Winter. Contributing to the label's success was its distribution of Philadelphia International Records, which produced additional hit records by acts such as The Three Degrees and McFadden and Whitehead. During the 1960s, Epic oversaw the smaller subsidiary CBS labels including Okeh Records and Date Records.
In 1968, Epic recordings began being distributed in the UK by CBS after the distribution deal with EMI expired that year. Sony Corporation bought CBS Records in 1987, the company was renamed Sony Music in 1991, it began splitting European operations into two separate labels and Columbia, in 1992, in 1997, Sony Music Australia and New Zealand followed suit. In 2004, Sony merged with music distributor BMG, bringing Arista Records, Columbia Records, Epic Records, J Records, Jive Records, RCA Records, Zomba Group of Companies to one parent company known as Sony BMG Music Entertainment. In 2008, Sony bought out BMG for $1.2 billion, bringing all affiliated labels together as Sony Music Entertainment International, SMEI. The merger was approved by the European Union in 2009. Epic's 1980s and 1990s mainstream success were fueled by its signing and releasing of albums by notable acts such as Michael Jackson, Culture Club, the Miami Sound Machine and Gloria Estefan and George Michael, Adam Ant, Living Colour, Dead or Alive, Cyndi Lauper, Ozzy Osbourne, Pearl Jam, Luther Vandross, Stevie Ray Vaughan, Rage Against the Machine, Céline Dion, Oasis among others.
One of the label's greatest financial payoffs came via the release of Thriller, the 1982 album by Michael Jackson, which went on to achieve 51–65 million in worldwide sales, becoming the biggest selling album in history. Epic Soundtrax was founded in 1992, it was central to Epic's 1990s success, with 11 releases cumulatively selling more than 40 million records over a three-year period. Notable releases included soundtrack albums for Honeymoon in Vegas, Sleepless in Seattle, Forrest Gump and Judgement Night. In July 2011, L. A. Reid became the CEO of Epic Records, signing artists such as TLC, Toni Braxton, Cher Lloyd, Avril Lavigne, Future, Yo Gotti, Meghan Trainor, DJ Khaled and Travis Scott. Epic signed the winners of The X Factor during the seasons that Reid appeared on the show. In 2013, Sylvia Rhone, former president of Universal Motown, launched the imprint Vested In Culture through Epic Records. A year she was named president of the label. In November 2014, Mosley Music Group created
Jillian Rose Banks, known mononymously as Banks, is an American singer-songwriter. She is signed to Good Years Recordings. Following the release of two extended plays, Fall Over and London, in 2013, Banks released her debut album, Goddess, on September 5, 2014, to positive reviews from contemporary music critics, it reached number 12 on the US Billboard 200, while its most successful single, "Beggin for Thread", was certified platinum by the Recording Industry Association of America. Her second studio album, The Altar, was released on September 30, 2016, to a similar positive reception, becoming her second top 20 album in the United States, she has toured internationally with The Weeknd and was nominated for the Sound of 2014 award by the BBC and an MTV Brand New Nominee in 2014. Jillian Rose Banks was born on June 1988, in Orange County, California. Banks has some English ancestry, she moved to Los Angeles when she was about one or two years old and lived in Tarzana, an affluent neighborhood in the San Fernando Valley.
Banks started writing songs at the age of 15. She taught herself piano when she received a keyboard from a friend to help her through her parents' divorce, she says she "felt alone and helpless. I didn't know how to express what I was feeling or who to talk to." She enrolled to study psychology at University of Southern California, where she wrote a thesis on the children of divorced parents earning a bachelor's degree in psychology. During Banks' time at USC she was put in contact with DJ Yung Skeeter, who offered to manage her and brought her to British label Good Years Recordings. After posting a track called "Before I Ever Met You" on a private SoundCloud page in February 2013, the song ended up being played by DJ Zane Lowe on BBC Radio 1. Banks released her debut extended play, Fall Over, internationally in March 2013 by Good Years Recordings. Billboard called her a "magnetic writer with songs to obsess over." Her second EP, was released in September 2013 by Harvest Records and Good Years Recordings to positive reviews from music critics.
In an interview after the debut of her first album she posted her phone number on her social media accounts to be closer to her fans and have a more intimate connection to all of them. Her song "Waiting Game" from the EP was featured in the 2013 Victoria's Secret holiday commercial. In late 2013, she received nominations for awards from both the BBC and MTV, she was nominated for a Sound of... award by the BBC and a Brand New Nominee by MTV. She was included on Shazam's list of "2014 Acts to Watch", as well as on iTunes' list of "New Artists for 2014". Banks was artist of the week for Vogue in August 2013 where they wrote that her songs "perfectly capture a feeling of being lost and powerless in the world." Banks has been tipped by several media outlets as the artist to watch in 2014, including Spin listing London as one of the "50 Albums You Gotta Hear in 2014" and being named as one of the artists under Spotify's Spotlight for 2014. Additional accolades came from The Boston Globe and The Huffington Post.
Banks was the opening act for Canadian singer The Weeknd during his fall 2013 tour, supporting him in both the United States and the United Kingdom. After finishing the tour with The Weeknd, she announced her own tour which begun in the United Kingdom during March 2014. Banks was a featured performer at the Coachella festival, taking place in April 2014, Bonnaroo and Open'er Festival in July 2014. In January 2015, Banks was part of the lineup for the 2015 St. Jerome's Laneway Festival, which toured Adelaide, Brisbane, Fremantle, Melbourne and Sydney. On August 7, 2014, Banks made her television debut on Jimmy Kimmel Live!, performing "Beggin for Thread" and "Waiting Game". Her debut album, was released on September 5, 2014 and charted within the top 20 of several countries, including the UK, Germany, New Zealand and Sweden. In the US, the album debuted at number 12 on the Billboard 200, selling 25,000 copies in its first week of release, it received positive reviews from critics, who praised the album's raw sound.
It holds a score of 74 out of 100 on Metacritic. The album was supported by the release of four singles: "Brain", "Goddess", "Drowning", "Beggin for Thread". "Drowning" peaked at number 48 on Billboard's Rock Digital Songs chart, while "Beggin for Thread" reached number 11 on Billboard's Alternative Songs chart, numbers 80 and 64 in Australia and Germany, respectively. The track "Waiting Game" was featured in the film Divergent, released in March 2014. Along with "Waiting Game", "You Should Know Where I'm Coming From" was featured in the October 9, 2014 episode of Grey's Anatomy, while the track "Goddess" was featured in the March 12, 2015 episode. "You Should Know Where I'm Coming From" was featured on the ninth episode of Red Band Society. Her single "Beggin' for Thread" was featured in the third episode of the second season of The Originals. In June 2017, "Waiting Game" was used in the official trailer for Netflix's psychological thriller series Gypsy. On November 4, 2015, Banks released the single "Better", along with its accompanying music video.
Banks toured with The Weeknd for a second time, opening for him on his The Madness Fall Tour across North America from November to December 2015. She announced on June 2016 that she had finished work on her second album. On July 12, 2016, Banks released "Fuck with Myself" as the lead single from her second studio album, titled The Altar, she premiered the track on Zane Lowe's Beats 1 radio show, where she noted it was the last song she wrote for the album. "There's so many meanings to it", she said of the song. "It could be like,'I fuck with my
Saint Heron is a compilation album released by Solange Knowles' record label, Saint Records, on November 11, 2013. It features the original recordings of several contemporary R&B artists, including Knowles, Jhené Aiko, Cassie, BC Kingdom, Jade De LaFleur, Kingdom, Petite Noir, Iman Omari, India Shawn and Starchild; the intent of the album was to "feature and align a new movement of contemporary, genre-defying R&B visionaries" and to serve as a "segue into the diverse evolution of these independent artists as they share their voices and words as only they can – through pure, unadulterated music." On May 14, 2013, Solange Knowles revealed that she had launched her own record label named Saint Records, which she would be using to release her third full-length album and future music projects distributed through Sony. On October 22, 2013, Knowles announced the first release from her label, a compilation called Saint Heron, featuring twelve original songs from a list of "very contemporary left-of-center R&B artists," including Cassie, Jhené Aiko, Petite Noir, BC Kingdom, Knowles herself among others.
The first song to be released from the project was "Go All Night," by American singer and songwriter Kelela, teased on her 2013 Cut 4 Me mixtape. The artwork for Saint Heron was created by media artist Rashaad Newsome; the release was preceded by the opening of the label's official website, updated with various music news and interviews about the album. The compilation was available digitally, on vinyl, on CD on November 12, 2013. Talking about the project's concept for Billboard, Knowles stated: "Honestly everyone I've had on Saint Heron I've been a fan of for awhile now, have been introduced to their music either from friends or this kind of assembling from across the internet, and I just kinda wanted to celebrate these awesome, sometimes overlooked gifted R&B artists and have them come together and celebrate the art form and the diversity of the art form," expressing her desire to make it a cohesive record while "individually everyone sort of interpreted rhythm and blues in a different way from artist to artist."
To promote the release, Knowles hosted a launch party and trunk show at retail space and gallery Opening Ceremony in Soho, New York City. "I wanted to make a record you can smoke to," Knowles said, while claiming curating the track listing was "definitely a creatively fulfilling experience. All of the artists on this compilation are so talented and are defying the genre of R&B in their own ways, and the songs still flow together as one body of work. I love how airy and experimental it gets." The track "Indo" marks Knowles’ first full solo production credit. Saint Heron received positive reviews from contemporary critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 75. Miles Raymer of Pitchfork gave the album an 8.1 rating out of 10, commenting, "It may have taken her a while to get to the point where she can pull such a gesture off, but in this insurgent territory, Solange reigns supreme." Ryan B. Patrick of Exclaim! wrote: "Saint Heron is a statement, a musical manifesto with a collaborative vision for today's R&B."Anupa Mistry of Spin remarked that "What's interesting about Saint Heron is that it trips giddily over the line between conventional approaches and more processed, speculative stuff, but takes no pains to make an overarching statement," while Will Hermes of Rolling Stone noted the album "can verge on its own kind of formula, but high points are high."
At NOW Magazine, Holly Mackenzie stated, "The first release under eclectic singer/songwriter Solange Knowles's boutique label, Saint Records, the younger Knowles weaves a collection of alt-R&B songs together seamlessly." Stacy-Ann Ellis of Vibe added, "The compilation is a definite breathe of fresh air. The album flows with lyrical lounge music and mellow melodies—the perfect sexy time score or hookah-huffing soundtrack." Aimee Cliff of Dummy Mag gave the album eight out of ten, saying "While the album sometimes suffers for its lack of direction, it's only because so many directions are posed by this collection of forward- and sideways-thinking tracks." Clare Considine of The Guardian praised the project, "a beguiling compilation bursting with originality," applauding the movement of singers lyrically "freeing themselves from the cliched roles attributed to them by male writers." Centric ranked Saint Heron at number one on their "13 Best R&B/Soul Mixtapes & EPs of 2013" year-end list. Credits adapted from AllMusic.
SaintHeron.com Saint Heron at Discogs
Dia Frampton, is an American singer-songwriter and was the lead singer of the band Meg & Dia. She was the runner-up in the inaugural season of The Voice, she was the lead singer in her band, ARCHIS before continuing her solo career. Dia Frampton attended Dixie High School in St. George and Shadow Ridge High School in Las Vegas, Nevada. Dia graduated early by homeschooling her senior year, at the same time attending public school. Dia moved to Salt Lake City with her sister to further their music career, she cites Modest Mouse, Tom Petty and the Heartbreakers, Joni Mitchell, The Avett Brothers, Rocky Votolato, Ben Folds, Etta James, Death Cab for Cutie, The Cranberries, Cursive as influences. During live performances, Frampton plays percussion instruments, such as the cowbell and tambourine, a Casio Privia keyboard, she always performs without shoes on. She does not like to eat anything within two hours of performing, her father is an American of English and Dutch ancestry and her mother is Korean from Seoul.
Frampton recorded a "song diary," an impromptu recorded song, on her MySpace page. She explained, "It was something raw, to be honest, something that I was embarrassed to put up because of the quality but I did anyways, for any of our listeners who would care to hear something not hot off the production belt, but something more organic and'home made.' It made me feel better to share my feelings with people who could connect, I think, what happened with many." Dia Frampton was a contestant on the first season of The Voice on NBC, introduced as a children's story author. Frampton stated that she had joined the show only with the intention of promoting Cocoon and had not expected that she would make it that far in the competition, she was selected to be on the team of coach Blake Shelton, who stated, "when I heard your voice, I started to smile." Frampton advanced through the show's quarter-finals and semi-finales after renditions of "Heartless" and "Losing My Religion". Notably, the aforementioned singles were the highest charting iTunes digital songs by any contestant on The Voice during its respective voting eligibility period, with "Inventing Shadows" topping the charts at No. 1.
Following the season finale on June 29, 2011, "Inventing Shadows" debuted at No. 20 on the Billboard Hot 100 with 137,000 downloads sold. As of July 7, 2011 Frampton's The Voice digital releases have sold 480,000 downloads. Frampton subsequently won the title of Entertainment Weekly's 2011'Favourite Reality Show Personality' over Michael Stagliano from the second season of Bachelor Pad. Performances on The Voice Frampton's single, "The Broken Ones," was released on November 15, 2011, her solo album, was released on December 6, 2011. Frampton wrote every song on Red. Notable co-written songs include "Billy the Kid", which she wrote with Mark Foster and Isom Innis, lead singer and keyboard player for Foster the People "Hearts out to Dry," which she wrote with her sister, "Bullseye," which she wrote with Isabella Summers, the keyboard player for Florence and the Machine, she was the opening act for Blake Shelton, on his Well Lit & Amplified tour. Shelton insisted that she had earned her spot on his tour and he was not doing her any favors.
She was a supporting act for The Fray in their sold out US tour in the Midwest and the West Coast from April to May 2011. Her own solo US tour took place from February to July 2012, with Canadian singer/songwriter Andrew Allen as her opening act, she covered the Korean song, "Lonely" by 2NE1, as an acoustic ballad in English for allkpop.com to promote her concert in Seoul, Korea. On December 30, 2012, she sang a solo of "Heartless" and performed "We Are The Champions" with the final 8 of The Voice of Vietnam. In January 2013, Dia held a small tour, staging concerts across Southeast Asian countries Vietnam, Philippines, Thailand and Indonesia, she collaborated with Singto Numchok on his singles "Gift" and "Coffee Mate" in Thailand. Frampton was featured on "Heart On the Floor", a track on The Summer Set's new album, Legendary; the album was released on April 16, 2013. She was featured on Never Shout Never's Christmas EP, singing "Under the Mistletoe" and on The Crystal Method's new single "Over It", featured on their self-tiled album on January 14, 2014.
As of January 2014, Dia is now the opening act for the James Blunt Moon Landing Tour. On April 29, 2014 Lindsey Stirling released her album Shatter Me on which Dia collaborated on the songs "We Are Giants" and "Shatter Me", she was featured in the single "Stay" by Australian DJ tyDi, released on April 8, 2014. In June 2014, it was announced that after the release of "Red," Frampton had been dropped from Universal Republic, it was announced that her new album would be an EP, not a solo album but under the name of her new band, ARCHIS. Two singles were released on this EP, "Blood" and "I Need You." The music video for "Blood" was released on June 2, 2014. In August 2014, Frampton announced that Archis had been signed to a new label, that the EP would be released in January 2015; the EP was produced by her frequent collaborator Joseph Trapanese. On March 17, Interscope Records released Insurgent: Original Motion Picture Soundtrack; the song "Holes In the Sky" was written by Anthony Gonzalez and Dia Frampton and is performed by M83 and HAIM.
After the release of ARCHIS's EP, the band began working on a full-length LP, to be released in early 2016. However, after releasing a personal essay in August 2016 it was revealed that the LP would be released under her own name and would be titled Bruises. Frampton revealed that the LP
Capitol Records, Inc. is an American record label owned by Universal Music Group through its Capitol Music Group imprint. It was founded as the first West Coast-based record label in the United States in 1942 by Johnny Mercer, Buddy DeSylva, Glenn E. Wallichs. Capitol was acquired by British music conglomerate EMI as its North American subsidiary in 1955. EMI was acquired by Universal Music Group in 2012 and was merged with the company a year making Capitol and the Capitol Music Group both a part of UMG; the label's circular headquarter building in Hollywood is a recognized landmark of California. Capitol's roster includes Katy Perry, Sir Paul McCartney, Mary J. Blige, the Beach Boys, the Beastie Boys, Neil Diamond, Brian Wilson, Avenged Sevenfold, 5 Seconds of Summer, Don Henley, Sam Smith, Migos, NF, Emeli Sandé, Troye Sivan, Calum Scott, Tori Kelly, Jon Bellion, Niall Horan. Songwriter Johnny Mercer founded Capitol Records in 1942 with financial help from songwriter and film producer Buddy DeSylva and the business acumen of Glenn Wallichs, owner of Wallichs Music City.
Mercer raised the idea of starting a record company while golfing with Harold Arlen and Bobby Sherwood and with Wallichs at Wallichs's record store. On February 2, 1942, Mercer and Wallichs met DeSylva at a restaurant in Hollywood to talk about investment by Paramount Pictures. On March 27, 1942, the three men incorporated as Liberty Records. In May 1942, the application was amended to change the company's name to Capitol Records. On April 6, 1942, Mercer supervised Capitol's first recording session where Martha Tilton recorded the song "Moon Dreams". On May 5, Bobby Sherwood and his orchestra recorded two tracks in the studio. On May 21, Freddie Slack and his orchestra recorded three tracks in the studio. On June 4, 1942, Capitol opened its first office in a second-floor room south of Sunset Boulevard. On that same day, Wallichs presented the company's first free record to Los Angeles disc jockey Peter Potter. On June 5, 1942, Paul Whiteman and his Orchestra recorded four songs at the studio. On June 12, the orchestra recorded five more songs in the studio, including "Trav'lin' Light" with Billie Holiday, On June 11, Tex Ritter recorded " Jingle Jangle Jingle" and "Goodbye My Little Cherokee" for his first Capitol recording session, the songs formed Capitol's 110th produced record.
The earliest recording artists included co-owner Mercer, Johnnie Johnston, Morse, Jo Stafford, the Pied Pipers, Tex Ritter, Paul Weston and Margaret Whiting Capitol's first gold single was Morse's "Cow Cow Boogie" in 1942. Capitol's first album was Capitol Presents Songs by Johnny Mercer, a three disc set with recordings by Mercer and the Pied Pipers, all with Weston's Orchestra; the label's other 1940s musicians included Les Baxter, Les Brown, Jimmy Bryant, Billy Butterfield, Nat King Cole, Sammy Davis Jr. Dinning Sisters, Tennessee Ernie Ford, Mary Ford, Benny Goodman, Skitch Henderson, Betty Hutton, Stan Kenton, Peggy Lee, Billy May, Les Paul, Alvino Rey, Andy Russell, Smilin' Jack Smith, Kay Starr, Speedy West, Cootie Williams. Musicians on the Capitol Americana label included Lead Belly, Cliffie Stone, Hank Thompson, Merle Travis, Wesley Tuttle, Jimmy Wakely, Tex Williams. Capitol was the first major west coast label to compete with labels on the east coast such as Columbia, RCA Victor.
In addition to its Los Angeles recording studio, Capitol owned a second studio in New York City and sent mobile recording equipment to New Orleans and other cities. In 1946, writer-producer Alan W. Livingston created Bozo the Clown for the company's children's record library. Examples of notable Capitol albums for children during that era are Sparky's Magic Piano and Rusty in Orchestraville. Capitol developed a noted jazz catalog that included the Capitol Jazz Men and issued the Miles Davis's album Birth of the Cool Capitol released a few classical albums in the 1940s, some of which contained a embossed, leather-like cover; these recordings appeared on 78 rpm format released on the 33 format in 1949. Among the recordings: Brazilian composer Heitor Villa-Lobos' Choros No. 10, with contributions from a Los Angeles choral group and the Janssen Symphony Orchestra, conducted by Werner Janssen. In 1949, Capitol opened a branch office in Canada and purchased KHJ Studios on Melrose Avenue adjacent to Paramount in Hollywood.
By the mid-1950s, Capitol had become a huge company. The label's roster included the Andrews Sisters, Ray Anthony, Shirley Bassey, June Christy, Tommy Duncan, Tennessee Ernie Ford, the Four Freshmen, the Four Knights, the Four Preps, Jane Froman, Judy Garland, Jackie Gleason, Andy Griffith, Dick Haymes, Harry James, the Kingston Trio, the Louvin Brothers, Dean Martin, Al Martino, Skeets McDonald, Louis Prima, Nelson Riddle, Dinah Shore, Frank Sinatra, Keely Smith. Capitol began recording roll acts such as the Jodimars and Gene Vincent. There were comedy records by Stan Freberg, Johnny Standley, Mickey Katz. Children listened to Capitol's Bozo the Clown albums. Although various people played Bozo the Clown on television, Capitol used the voice of Pinto Colvig, the voice of Goofy in Walt Disney cartoons. Don Wilson released children's records. In June 1952, Billboard magazine contained a chronicle of the label's first ten years in business. In 1955, the British record company EMI ended its 55-year mutual distribution