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Featured Mixtaper

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*Martin

Featured Mixtape

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houses

1 House of Diamonds
2 Limehouse
3 The Ghost Inside Our House
4 Upack Your Adjectives (Schoolhouse Rock)
5 Build
6 House of the Rising Run
7 John L's House Rent Boogie
8 The House That Dripped Blood
9 This House is on Fire
10 Behind the House (demo)
11 Brick Shithouse
12 Disturbance at the Heron House
13 Life in a Glass House
14 Back to the old house
15 Houses In Motion
16 Runaway, Houses, City, Clouds
17 House Where Nobody Lives
18 House Where We All Live
19 I Was in the House When the House Burned Down
20 No Thugs In Our House

Featured Article

picture for article On Holding Hands at Shows: Girls at Bimbo's in SF

On Holding Hands at Shows: Girls at Bimbo's in SF

Because the personal narrative at the heart of most Girls songs is so twisted and inaccessible -- Owens grew up in a cult and escaped into drugs and punk rock as a teenager -- it's amazing that this music is so perfect for hand-holding. Christopher Owens is no James Taylor, of course, but there's no denying the easygoing, almost romantic side of his oeuvre.

-- Ryan Mixtape

picture for article Pitchfork: Brand vs. Band

Pitchfork: Brand vs. Band

That's why this year's plan is both risky and exciting from a business perspective. All other things held constant, Pitchfork could easily raise prices, since it has clearly been selling at a price lower than the point at which the demand and supply curves meet. However, unlike Coachella and Bonnaroo, which rely primarily on their lineups and pricing to drive brand value, the Pitchfork Music Festival's brand also gains tremendous value from Pitchfork's core offerings. So the levers it can pull are more varied. Essentially, Pitchfork has the unique privilege of choosing to hold price, but nothing else, constant.

-- Ryan Mixtape

picture for article The Creators Project in San Francisco, March 17

The Creators Project in San Francisco, March 17

A really interesting effect of the Creators Project format is that the broad focus on technology and art (the music pavilion accounted for only about 25 percent of the event's total footprint) freed the musicians to focus on performance rather than spectacle. After all, it’s nearly impossible to compete with the building-size interactive light-and-sound rendering of Origin by United Visual Artists. The Creators Project will hopefully continue to add smaller cities like San Francisco to its world tour of art, technology and innovation.

-- Ryan Mixtape