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Pitch Black Fucking Metal (IMP #07)

1 Black Metal
2 Triumph Of Death
3 In Conspiracy With Satan
4 Caress Into Oblivion
5 Goat Worship
6 Where Cold Winds Blow
7 Hvis Lyset Tar Os
8 Cursed Realms Of The Winterdemon
9 Freezing Moon
10 Skyggedans
11 War Funeral March
12 Possessed (By Satan)
13 The Dead Sing
14 The God Supreme
15 Vint Da Rau Pin Valea Iadul
16 Angelrape
17 Supreme Necrotic Audnance
18 The Angel Holocaust
19 Reaktor 4
20 Moholuta Ocklolkan
21 Riders Of The Apocalypse
22 Flesh For The Twelth Omnipotent
23 Pleased By Your Pain
24 With Hate Freezing My Veins
25 Blood Annihilation
26 To Fucking Hell (On Earth We Rot)
27 III
28 Heralder
29 It Took The Night To Believe
30 Granite

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