Coming Soon:
Ariana Grande - "thank u, next" / Ariana Grande - "thank u, next" / Ariana Grande - "thank u, next" / Ariana Grande - "thank u, next" /
Request Line: (833) 321-KORD
  • App Store Download

From the KORD writers:

Frequently Asked Questions

If you do not find the answer to your question here, please drop us a line at [email protected].

What is KORD?

KORD is the first streaming music service to give you access to “stems.” This means you can mute, isolate, or combine various parts of a song while you listen. KORD features a curated catalog with ongoing releases of songs and their stories.

What are Stems?

Stems are created by combining one or more multitracks from an original master recording. For example, if a recording had five tracks of drums, those tracks could be combined to form one drum stem.

Are KORD stems created using Artificial Intelligence?

No they are not. We are sourcing and licensing tracks and stems from the original master recordings’ rightsholders.

How do I interact with music in KORD?

Simply play a song, then tap on the instrument icons at the bottom of the player to mute any of the instruments (stems). To hear an instrument by itself, tap and hold it, this will mute all other instruments.

What else is in KORD?

Detailed credits, liner notes, images, videos, and the stories behind the music. Click on Discover to find direct links to essays, articles, news and more.

Why would I use KORD when I can hear millions of songs on another service?

KORD is different. It’s for those of us who like to dive a little deeper to really learn about music –including how and why it was made.

Make no mistake, we think you should join other music services. We also hope you support artists and BUY their music, whether on vinyl, CD, cassette, or digital and ideally from your local record stores. And go see a live show too – we’ll see you there!

Why can’t I find a particular song on KORD?

KORD features a highly curated catalog and drops new releases all the time. New songs, older songs, and all genres are welcome.

When is my favorite song coming?

We work closely with our label partners and independent artists to keep delivering exciting music. Stay tuned for more releases every week.

How do I play a song?

Simply browse to your desired song, tap the play button, and it will load into the Player.

How do I rewind or fast-forward a song?

Drag the slider found on the right of the Player screen, or drag the lyrics to rewind or fast forward.

How do I mute instruments (stems)?

Tap once on each instrument at the bottom of the Player to mute or activate it.

How do I “solo” an instrument?

To hear one instrument and mute all others, tap and hold on it. Tap and hold again to re-activate all instruments.

Why are some instruments mixed together on one stem?

Recording engineers may choose to combine or “bounce” tracks together to free up tracks for more recording. This was particularly common when studios were limited to 4-track or 8-track technology for example. These days we have unlimited digital tracks at our disposal.

Why can’t I use my bluetooth headphones to pause or play a song?

KORD uses our proprietary playback engine rather than your device’s operating system, this means you’ll have to use our interface to control the songs. It’s a small price to pay for being awesome.

Why do the beginnings of some songs get cut off while using bluetooth headphones?

This is a known issue with many apps and has to do with Bluetooth energy saving technology. It should rarely if ever happen, but if it does simply drag the seek slider in KORD to rewind the song and hear it from the beginning.

Why are lyrics sometimes out of sync?

You may experience lyric timing issues if your device is in low-power mode. Disable low-power mode to correct.

If the stems and tracks themselves seem out of sync with each other, simply toggle on and off the play/pause button, it should re-sync instantly.

Does KORD pay the artists and songwriters to play music?

Absolutely! Each time a song is played on KORD, the legal rightsholders are compensated. This includes the owners of the sound recording, the publishers, and of course the songwriters. Standard industry rates apply.

How Lynyrd Skynyrd’s ‘Free Bird’ earned its wings

“Free Bird” is the sacred text of Southern rock, and like all sacred texts, it is the object of both devotion and derision. Lynyrd Skynyrd’s elegiac magnum opus is so deeply burned into the collective musical consciousness, so inescapable across decades of nonstop radio airplay, that it’s all but impossible to separate the song from the passions it inspires. Because everyone knows “Free Bird,” everyone has an opinion about “Free Bird” — which is its blessing and its curse. You either love it or hate it; indifference is not an option.

Read More

Blues Traveler laughs all the way to the bank with its audacious ‘Hook’

“Hook” holds you in contempt for succumbing to its charms. Blues Traveler’s savagely satirical follow-up to its breakthrough single “Run-Around” skewers all facets of the hit-making machine, from creatively bankrupt artists to soulless corporate media outlets to listeners who gobble up whatever tripe the music industry conspires to shove down our throats — tripe including “Hook” itself, as the song gleefully reminds you at every conceivable turn. Whether you love it, hate it, love to hate it or hate to love it, “Hook” declares checkmate the moment it enters your consciousness: it’s a metafictional hall of mirrors from which there is no escape.

  • /songs/601L401Q44018H3
Read More

How Def Leppard brought on the golden age of power ballads

“Bringin’ on the Heartbreak” isn’t simply the best power ballad of the 1980s; it’s also the savviest. The second single from Def Leppard’s sophomore album High ‘N’ Dry ushered power ballads squarely into the pop mainstream, demonstrating that ostensibly earnest love songs burnished with the sound and spirit of hard rock could dominate commercial airwaves — a formula for success proven time and again throughout the decade, and beyond.

Read More

OK Go’s ‘Here It Goes Again’ foretells pop music’s digital destiny

As a song, “Here It Goes Again” is a footnote. But as a marketing stunt, it’s a milestone — a harbinger of a world where fame and fortune are measured in views, likes and shares, not record sales, radio airplay or downloads. Released online roughly a year prior to the introduction of Apple’s iPhone, the philosopher’s stone of the social media age, “Here It Goes Again” unleashed the power of viral video to chart a new path to celebrity, vividly demonstrating digital media’s unprecedented capacity to establish more direct connections between performers and audiences while disintermediating labels and broadcasters from the star-maker machinery.

OK Go, nominees Best Short Form Music Video for “Here It Goes Again” (Photo by SGranitz/WireImage)
Read More

How Huey Lewis and the News hooked America with ‘I Want a New Drug’

No rock act better encapsulates the zeitgeist of the Reagan Era than Huey Lewis and the News, whose slickly inoffensive bar-band anthems dominated the Billboard Top 40 from 1982 to 1987. And no song better encapsulates Huey Lewis and the News than “I Want a New Drug,” which embraces the “Just Say No” fervor of its times by rejecting chemically-induced euphoria in favor of an altogether different kind of narcotic buzz: the thrill of infatuation.

Read More

A toast to Dean Martin, the forever king of crooner cool

“You’re Nobody ‘Till Somebody Loves You” bottles for all eternity the essence of mid-20th century cool. Dean Martin’s 1960 classic is insouciance incarnate, a singularly swinging evocation of postwar America on the cusp of a new frontier. Sure, Martin’s pal Frank Sinatra was the matchless pop stylist, the Chairman of the Board, the undisputed leader of the gaggle of crooners, movie stars and sycophants known as the Rat Pack — those golden gods in sharkskin suits and tilted Homburg hats who defined style and swagger for generations to come. But Martin was the straw that stirred the drink, the unflappable, sleepy-voiced buddha who made fame and fortune seem so effortless, even meaningless. He was a man who had it all, and wanted almost none of it — what biographer Nick Tosches dubbed a true menefreghista, Italian for “one who simply did not give a fuck.”

Read More

One-chord wonder: Why Junior Walker’s ‘Shotgun’ still hits the target

“Shotgun” is the Motown classic that sounds nothing at all like a Motown classic. Junior Walker and the All Stars’ roadhouse R&B juggernaut is untamed and unbound — a wild card in a catalog synonymous with sequinned style and silk-trimmed sophistication. Released on Motown’s Soul subsidiary in early 1965 (a pivotal year in the company’s commercial and creative ascent, thanks to crossover blockbusters including the Four Tops’ “I Can’t Help Myself [Sugar Pie, Honey Bunch]” and the Supremes’ “Stop! In the Name of Love”), “Shotgun” delivers gutbucket grooves to rival the grittiest, greasiest records from competitors Stax and Atlantic, but despite topping the Billboard R&B charts for four nonconsecutive weeks, it remains an outlier in the Motown canon, its primordial energy unmatched by the label before or after — a tantalizing taste of a more incendiary Motown Sound that might have been. 

Read More

Here’s the story… of a TV cult classic: ‘It’s a Sunshine Day’

Close your eyes, and you can picture them with startling clarity: six impossibly wholesome American teens (three boys and three girls, the latter with hair of gold like their mother, the youngest one in curls) dancing on the checkerboard stage of a televised talent showcase,  lip-synching the corniest, campiest pop song imaginable — a song so indelibly seared into your memory, you couldn’t dislodge it even if you wanted to.

Read More

Making sense of Don McLean’s boomer ballad ‘American Pie’

American Pie” is the baby-boom generation’s elegy of choice for the Sixties, a requiem mass for a decade that for Don McLean, the song’s writer and singer, came to a screeching halt sometime around the Summer of Love, just eight years after the tragedy McLean famously proclaimed “The Day the Music Died.” Viewed more than half a century out from its introduction into the cultural consciousness, it sure seems like a strange choice for a generational anthem — a self-consciously mythopoetic campfire ballad that surveys the changes wrought by the counterculture, and embraces a very different path forward. Perhaps “American Pie” has been poked and prodded so often, and by so many, that over time virtually all of its original meaning has been lost. Or maybe it just never had much meaning to begin with.

Read More

Write for KORD

Think you have what it takest to write for KORD? We need talented, passionate writers to reveal the stories behind the songs.

Send samples / links to [email protected]