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The Best Ways to Fund Your Music Business: What Types of Music Business Funding Do You Require?

The Best Ways to Fund Your Music Business: What Types of Music Business Funding Do You Require?

It’s possible that owning a music business has been your longstanding ambition. But, regardless of the type of musical business you’re running, the unavoidable reality is that it’ll require a lot of ConsolidationNow money to make that goal a reality.

However, there are substantial financial disparities between these businesses—for example, the type of music business finance required to create a studio differs significantly from that needed to open a promotion or A&R company. However, the bigger your strategy is, the more money you’ll need to fund it adequately.

You’ll need to know about music business funding, depending on the type of firm you want to start and operate.

How to Raise Money for Your Music Business

Few industries are as fascinating or as innovative as the music industry. However, funding a music business typically requires significantly more capital than other businesses. If you want to create your recording studio, practice space, or take your brand to the top of the charts, you’ll need a shocking amount of music business funding.

Getting the correct form of small business loan for your musical enterprise, like any other business, relies on the type of project you’re working on. Some music industry firms require finances to rent or own a facility and furnish it with (sometimes costly!) equipment. In contrast, others may merely want working capital to go from venue to venue.

We’ve collected a list of some of the most prevalent music enterprises and the small business finance tools that can best assist them in getting started (or keep going).

Sales and Repairs of Musical Instruments

We’ve concentrated on music production, recording, and performance. However, we haven’t discussed another critical aspect of the music economy that keeps bands humming: selling and fixing equipment. Most artists desire or need to play more than one instrument at a time, and all of those instruments need to be tuned up from time to time. This ensures that musical instrument repair shops and technicians have a steady stream of new customers.

Starting an equipment store will have three essential expenses to consider: inventory, real estate, and payroll. You’ll also need to buy the equipment, tools, and raw materials to get your customers’ stuff operating again if you’re starting your own repair business. 

Financing for Musical Equipment Sales and Repairs at the Best Rates

Here are some music finance possibilities to consider if you’re selling or repairing musical equipment.

Invoice Financing

Both musical instrument stores and repair shops rely on customers to pay their bills on time. 

However, few clients in this profession can truly pay their invoices on time (after all, these are artists!).

This doesn’t imply that music store owners are out of luck. Invoice financing allows lenders to grant accepted borrowers a cash advance on the total amount of their invoices, allowing small business owners to keep their cash flow in check even if their customers don’t pay on time.

Financing for equipment

Instrument sales and repair firms can both benefit from equipment financing. Both necessitate the acquisition of machines and tools to sell or repair clients’ instruments, and these products aren’t always inexpensive.

Entrepreneurs can use equipment financing to help them buy the tools they need without putting up any security because the equipment they’re buying serves as collateral for the loan. 

This means you won’t have to worry about losing your property if you can’t pay back your loan.

Record Label

If you’ve ever fantasized about discovering the next big musical act or want to help a group of artists gain recognition, you’re definitely considering launching a record label. It can be challenging to do so, but the thrill of developing your own “Empire” can make all of the hard work (and expenses!) worthwhile.

It takes a lot of capital to start your label: When you scout for musicians, you’ll need to travel, finance the production of their songs, and pay for distribution across online and physical channels.

The Best Funding for Record Labels in the Music Industry

Here are your most significant financial alternatives if you run a record company.

Crowdfunding

The music industry has altered as a result of crowdsourcing, notably in music production. 

The cost of recording, mastering, and producing music is high. It can cost $20 or more to upload an album to Spotify or other music streaming sites, with physical CDs and vinyl editions costing significantly more. On the other hand, crowdfunding helps musicians cover these costs while also offering donors a value-add in support of their favorite performers.

Popular crowdfunding sites allow musicians to raise funds for their projects without going to traditional lenders or bankers, many of whom are wary of investing in musical acts due to the high risk involved in backing emerging talent. In exchange for special products, meet-and-greet chances, or early track releases, tapping into your following can provide you with the funds you need to produce new music.

Business credit card

Starting a record label does not necessitate a significant investment in equipment or raw materials. It would help if you simply had a corporate entity, an address, and a way to finance your piecemeal purchases while starting (such as airplane tickets, car rentals, or admission into clubs or concert venues).

A business credit card is the most convenient way to get music business funding for your company. You can probably get approved for a company credit card with a competitive APR if you have a solid personal credit history and few outstanding bills. You can maximize your credit spending and reinvest in your business if you use a card that gives you travel rewards or cashback on purchases.

Recording Studios and Rehearsal Spaces

Opening a rehearsal and recording studio may be a lucrative business venture—lugging gear to a friend’s dingy garage isn’t the same as practicing in a location with excellent acoustics. 

Musicians need rehearsal places and recording studios, especially in cities where limited space and neighbors are plentiful.

Opening a place like this is a terrific long-term business opportunity for entrepreneurs, but it comes with many equipment and starting costs. If you want to attract and maintain clients, you’ll need to supply rehearsal rooms with equipment, provide soundproofing, and make them feel comfortable. Even if you’ll recoup most of your costs as your location develops a reputation as a wonderful place to play and record, these upfront fees are often quite significant.

Phil Feinman, co-founder of Bedrock.LA, a Los Angeles rehearsal and recording studio, founded his business with his two business partners and a personal commitment from each of them. On the other hand, personal capital can only go you so far—at some point, you’ll almost certainly need a cash infusion in the form of a company loan.

The Best Funding for Rehearsal Spaces and Recording Studios in the Music Industry

Here are your greatest lending alternatives if you own a rehearsal space or a recording studio.

Business Line of Credit

If you run a rehearsal or recording studio, you’ll need financial flexibility to cover unforeseen repairs, significant purchases, and other expenses. Borrowers can get all of the above with a business line of credit.

You can borrow up to and including a particular amount of money with a business line of credit, all at a predetermined interest rate. You can take money out of that pool in any quantity you need, at any time—and, unlike a standard company loan, you’ll just pay interest on the money you use.

Financing for equipment

Look into equipment financing if you’re having trouble financing the equipment, you’ll need to start a rehearsal space or recording studio; these loans are specifically designed to assist borrowers in purchasing expensive equipment.

If you’re approved, your lender will advance the majority of the funds you’ll need to purchase your gear, and you’ll pay it back over time. And, unlike traditional loans, equipment financing is self-collateralizing, which means that if you default on your payments, your lender can repossess the equipment you purchased (and you won’t have to put up any additional collateral).

Venues for Music

Imagine building a venue that helps an obscure band get their big break or becomes the live-music destination for your local music scene. Finding the correct music business capital to open your dream venue, on the other hand, might be a challenge.

Obtaining money for a music venue is similar to obtaining funds for a restaurant or a bar. 

Each of these businesses requires substantial equipment, real estate financing, and inventory costs. You’ll also need to choose a space, lay out the stage and speaker system, and keep your bar stocked to open a music venue. That isn’t a stroll in the park.

Of course, any good music venue has many moving components, but that doesn’t imply it’s impossible to achieve. The type of finance you need for your music venue is primarily determined by which component of the venue you’re funding. 

Here are a few possibilities.

Recommended Music Venue Business Funding

As a music venue, these are your finest borrowing alternatives.

Small Business Administration (SBA) Loan

A Small Business Administration (SBA) loan can help you expand your space or acquire the funds you need to buy or rent a property if you have a few years of business operations under your belt, can demonstrate good cash flow, and have excellent personal credit. SBA loans are intended to assist small enterprises in obtaining capital. 

When the loan is less than $150,000, the SBA will guarantee up to 85% of the loan’s value; when the loan is more than $150,000, the SBA will guarantee up to 75% of the loan’s value. 

Banks are more willing to cooperate with small businesses with less of a financial track record because the SBA virtually guarantees repayment to the lender.

The SBA loan application process is extensive, and you’ll be required to complete numerous SBA forms (not to mention a list of SBA requirements to fulfill to be considered for a loan in the first place). You won’t find longer terms, greater capital amounts, or lower interest rates anyplace else if you’re authorized for an SBA loan so that you can expand or redesign your venue any way you choose.

Business Line of Credit

A line of credit gives venue owners access to cash on demand, usually at lower interest rates than credit cards. You can use a line of credit to buy raw materials such as food, wine, beer, and minor items such as power cables and signs. You can also use your line of credit on a rolling basis, which is far more convenient than applying for a loan every time you need money.

Financing for equipment

Regarding purchasing equipment for your venue, equipment finance is the best option. 

You can use equipment finance to buy PA systems, lights, sound and light boards, and restaurant and bar equipment.

These loans are self-collateralizing, which means you won’t have to put up any of your own assets to get approved. And, because equipment loans carry a lower risk for the lender, applicants with poor credit may have an easier time getting approved for them than standard small company loans.

Final Thoughts

Starting a music business involves several aspects, not to mention costs. But, at least in terms of music business funding, just because each has its unique set of standards doesn’t mean one is necessarily more difficult than the next.

There are a range of loans available to help entrepreneurs achieve specific objectives: the most important thing you can do is understand your personal and business finances and the aspects of your music business you need to fund. You can figure out what kind of music business finance you can get—and how to turn your musical aspirations into a reality.

Neu created the rhythm that continues

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Perched in the Star Studio recording room in Hamburg, guitarist Michael Rother heard his playing in a new light. It was days after the start of the four-day session in December 1971 that would produce the self-titled debut album of Neu, Rother’s newly formed duo with drummer Klaus Dinger. With producer Conny Plank, he fleshed out the 10-minute instrumental “Hallogallo,” evoking plumes of melody that swirled over Dinger’s streamlined, insistent 4/4 beat. While listening to the playback, Plank decided he wanted to hear the guitars backwards, suddenly throwing the tape upside down.

“Everything went vvvvp vvvvp vvvvp and I thought, oh that’s wonderful,” Rother recalled during a recent Zoom call from Italy. “This change from reality – this abstraction – really interested me. I’m not saying that all of a sudden great melodies came out of me, but it was inspiring. Plank incorporated reverse guitar into the mix, grounding the song with an otherworldly euphoria that Rother was able to play out in subsequent takes.On the recording, his guitar kicks in and out surreal waves of sound as Dinger’s drums march in a straight line toward the horizon.

“Hallogallo” would define an era in German underground music and influence several generations of rock bands, electronic music producers and experimenters around the world. Although it sold modestly when it was released in March 1972 and was out of print for much of the 1980s and 1990s, “Neu” paved the way soon trodden by Brian Eno and David Bowie, and later by countless others who were looking for a way out of established rock and roll tropes into something more transcendent and outlandish. Through its six tracks, Rother and Dinger, guided by Plank and his penchant for exploring the possibilities of sound, dismantle just about every hierarchical structure in rock music. The chord progressions and the structures of the songs come down to a singular hum, experienced as inexhaustible, almost eternal.

Fifty years after its release, the album’s influence continues to be enormous. To mark this anniversary, the German label Grönland has put together a box set compiling this historic debut album and the next three, as well as a collection of remixes and new songs by contemporary musicians inspired by their sound and their heritage. Artists such as the National, New Order’s Stephen Morris, and composer Yann Tiersen all reworked the material for the set. Although Dinger passed away in 2008, Rother will revisit Neu’s songs at a London concert on November 3, opening for Hot Chip’s Alexis Taylor.

“We’ve always loved that sound, the stacked guitars going into infinity,” says Kassie Carlson, vocalist of New York band Guerilla Toss. The band contributed an original song, “Zum Herz”, to the Grönland tribute compilation, transposing the melody of Rother’s solo song “Zyklodrom” into a post-punk rave-up. “A lot of our music nods to that era of German cosmic music, with this wonderful, major sound. But with ‘Zum Herz’ we really wanted to try and write a Neu song.

Rother and Dinger met in 1970 when they became members of Kraftwerk alongside one of the group’s masterminds, Florian Schneider. The association with Kraftwerk and the band’s status as one of the most well-known German bands of the 20th century looms large over Neu’s history, even though the duo’s contributions never made it onto a Kraftwerk album. At this embryonic stage, their music had an unassuming, often passionate character compared to the mechanized, detached style they would adopt years later when they fully embraced synthesizers and drum machines. Rother smiles as he recounts a performance story with Kraftwerk and understanding how unhinged a Dinger player could be. “I noticed the audience watching the scene and I followed their eyes to Klaus,” he recalled. “There was blood dripping from his hand. He liked to play on broken cymbals, which of course had very sharp edges. He beat drums and kept playing without stopping for a second. never crossed his mind.

This image runs counter to the number of fans and critics that have characterized Dinger’s drumming. The rhythm of “Hallogallo”, as well as “Negativland” from the debut album, “Für Immer” from “Neu 2”, and other songs, has been popularized as “motorik” (“motor skill”), evoking a well-oiled, immutable and static machine. Dinger never adopted this name, and later in life began to call it the “Apache Rhythm”, evoking a stereotype of Native American music. Despite the problematic genesis of this terminology, it underscores the focused intensity of his playing as the drummer tries to make connections to the ceremonial uses of repeated rhythm in Indigenous communities. Listening to the rhythm of the engine, it can indeed seem independent of clock time, pushing defiantly into boundless space even as it ticks off the seconds with precision and intention.

“To me, this is the best rhythm for playing guitar,” wrote Stereolab’s Tim Gane in a recent email. Many of the French band’s most iconic songs rely on the assertive momentum that Dinger pioneered. “The motorik drum beat isn’t just any 4/4 drum beat, and Klaus Dinger wasn’t just any regular rock drummer,” Gane added. “His way of playing is totally unique and so full of soul, passion and intensity that it counteracts the alienating effect of guitar effects. It creates a new kind of shadow rock music that wasn’t superficial at all.

Motorik has become almost synonymous with krautrock, the inelegant term coined by the British press to group bands emerging from Germany at the time, but ‘Neu’ is an album built on contrasts. After the immediacy of “Hallogallo” comes the hyper-minimal “Sonderangebot,” a five-minute recording of a muted cymbal roll swept between the left and right channels in a slow, queasy lurch. “Negativland” hums to a distorted twang created by Plank manually phasing two recordings of Dinger playing the shamisen, a Japanese banjo, standing between two tape recorders and slowing down one tape then the other. No two songs are alike, and the entire enterprise is built on the juxtaposition of Dinger’s rhythmic intensity and Rother’s bloody, cosmic songcraft.

“It’s definitely more of an ensemble thing,” Sonic Youth drummer Steve Shelley says when asked about Dinger’s influence on his own style. Shelley first heard Neu on mixtapes Sonic Youth would listen to in the tour van and was able to track down used copies of the first three albums while the band toured Europe in the ’80s. Stooges and obviously the Velvets were a big part of what we shared, and that became another mainstay,” he says. “We really relied on how we heard things and what we started playing on this Neu music.” Shelley was invited by Rother to play this music with him as part of the band Hallogallo 2010, which debuted at that year’s All Tomorrow’s Parties festival. “He has a certain freedom. This thing seems wide open.

This opening allows Neu’s influence to seep into many unexpected streams of music. It fueled the rise of punk, with Iggy Pop telling the BBC in 2009 “when you listen to it, it lets your thoughts flow”. The idea of ​​endless pulsing paired with ethereal atmospheric sounds has come to define many strains of electronic music designed for the dance floor, as DJ and radio host Tim Sweeney explains. Sweeney’s show, Beats In Space, has allowed countless DJs to introduce new sounds to large audiences, and Sweeney himself has been consistently mixing krautrock into the show for decades. “You almost go into a trance listening to it,” he says. “A lot of dance music is like that, with that repetition. The atmosphere is also a big part of it, the delay they used – which is often referenced.

For all his influence on music at home in dense urban environments, even Pop heard what he called “pastoral psychedelia” in Neu’s music. Nashville-born guitarist William Tyler finds surprising connections between the country music he grew up with and the music of Rother in Neu and beyond. Beyond the pervasive associations with the open road that permeate both, there was a telling moment when he heard a Waylon Jennings groove, “which to me sounded like krautrock. It rolls the same and glides the same,” he says. His 2016 album “Modern Country” was based on the question: “What would have happened if these Dusseldorf guys had recorded a record in Nashville? Tyler made the connection explicit by performing the slightly drifting neutral track “Weissensee” on this tour, and covering Rother’s “Karusell” on his “Lost Colony” EP.

The German countryside is very important to Rother, who moved to an estate outside the town of Forst shortly after making Neu’s first two albums (simultaneously forming the band Harmonia with Hans-Jochim Rodelius and Dieter Mobius of Cluster), and has remained there ever since. . Neu’s music was created with the echoes of fascism still audible, a settling of accounts with the Nazi regime still ongoing. Rother is an outspoken pacifist and he blames the obsession with pinning German identity on the music they made on the British music press. His music, with its luminous expanses and textures, suggests a kind of pastoral futurism, an idyllic vision of music that has escaped the trappings of what he calls “Anglo-American influence”. Neu’s music always points to something beyond – beyond the narrow mentality of nationalism, beyond the impulse of history to repeat itself, beyond any expectation whatsoever.

Rother often recalls in interviews his childhood in Pakistan, where his family lived between the ages of 9 and 12. He developed a love for buzzing sounds and new scales he heard while listening to street musicians, and he swam in the Arabian Sea. , the waves swallowing him up and spitting out his little body. “It’s such a great joy,” he says, ruminating on those times spent in the ocean and his current love of swimming. ” It continues. You can’t see it properly, and it’s getting deeper and deeper. It is something that stimulates my imagination. The sound of water permeates the first album Neu – it leads to several songs, these sounds giving listeners audible connections to that sense of infinity that Rother now talks about. Its powerful wake, uninterrupted for 50 years, continues.

The Grammys | GRAMMY.com

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The sound of regional Mexican music has endured for centuries, thanks to Mexican crooners and ballads like the great dead Vicente Fernández and Jenni Rivera. Today, a new generation of artists – on both sides of the Mexico-US border – are helping the genre continue to evolve, while achieving greater global success than ever before.

Regional Mexican music is a catch-all term that encompasses several styles of music who are from Mexico, including norteño, banda, mariachi and ranchera music. Besides Fernández and Rivera, artists who have defined the genre in recent decades include Pedro Infante, Juan-Gabriel, Selena, and Ariel Camacho. Although sadly no longer with us, a new generation of artists are reviving and redefining the sound of regional Mexican music. — and helping the age-old genre connect with younger audiences.

mexican singers nodal christian and Natanael Cano spearheaded the movement, pushing regional Mexican music up the charts in 2018 and 2019, respectively. Nodal fused mariachi and norteño music, while Cano pioneered the tumbados corridos, which gave a hip-hop and trap twist to traditional corridos.

Over the next few years, many more Gen Z artists from the United States and Mexico put their own stamp on the mainstream genre, even breaking records in the process. As we celebrate Hispanic Heritage Month, GRAMMY.com shines a light on six acts that are refreshing regional Mexican music.

nodal christian

Originally from the town of Caborca ​​in Sonora, Mexico, nodal christian has become one of the biggest artists in regional Mexican music today since breaking out in 2018. His fusion of mariachi and norteño music (mariacheño, as he coined it), as well as his vocal range and vaquero charm, helped him connect with regional Mexican music. young and old music fans. These also earned him wide critical acclaim, including four Latin GRAMMYs and two GRAMMY nominations.

If Nodal puts a touch of youth to the genre, it also inaugurates new fusions. Alongside Mexican rapper Gera MX, Nodal make history in 2021 with their global hit “Botella Tras Botella”, which was the first regional Mexican song to hit the Billboard Hot 100 chart. In 2022, Nodal brought his unique flair to songs with the King of Bachata, Romeo Santos (“Me Extraño”), and Christina Aguilera (“Cuando Me Dé la Gana”).

Angela Aguilar

Angela Aguilar proudly carries on the legacy of his family name. The Aguilar family’s heritage is deeply rooted in regional Mexican music: his grandparents are Mexican legends Antonio Aguilar and Flor Silvestre, and his father is an icon Pepe Aguilar.

The Mexican-American artist adopts a more traditional sound of the genre, captivating audiences of all ages with his soulful voice that transcends his years. Along with carrying on her family’s legacy, she’s proving to be a star in her own right — and making waves in a male-dominated genre. She scored her second No. 1 on Billboard’s Mexican Regional Airplay chart in May with “Ahí Donde Me Ven”, making her the seventh female actress to have at least one No. 1 in the 28-year history. of the charts.

Natanael Cano

Natanael Cano turned regional Mexican music on its head by inaugurating the corridos tumbados movement. The emerging genre mixes the corridos of its Hermosillo, Sonora roots with the hip-hop flow of LA, where Cano is currently based.

Cano had a breakout year in 2019 thanks to the swaggering hit “El Drip,” which first gained popularity on YouTube. His fiery single “Soy El Diablo” caught the attention of bad bunnywho jumped on a remix.

Cano continues to take corridos even further with cross-genre collaborations with artists like Snoop Dogg (“Feeling good”) and Steve Aoki (“NataAoki”). He took the genre to its biggest stage in April, when he performed at Coachella.

Eslabon Armado

Fans of the late Mexican singer Ariel Camacho will love Bay Area-based band Eslabón Armado, who are bringing sierreño music to life for a new generation of fans. Eslabón Armado’s take on the genre on guitar reflects their Mexican-American background, also giving the traditional Mexican sound an emo twist.

Since releasing their breakthrough hit, the haunting love song “Con Tus Besos,” in 2020, the group has landed six top 20 songs on Billboard’s Hot Latin Songs chart – two of which reached the top 5. And only two years later, Eslabón Armado makes history: the trio’s 2022 album, Nostalgiapeaked at No. 9 on the Billboard 200 All Genres chart in May, becoming the first regional Mexican album place in the top 10.

Group Firm

Grupo Firme has become a maverick to watch in regional Mexican music. Through their brassy banda music anthems, the seven-piece band has amassed millions of fans inside and outside the genre.

This has been further proven by their impressive streaming numbers: at press time, the music video for their track “Ya Superame” has had over 305 million views on YouTube alone, and the boisterous “El Toxico” (featuring fellow Mexican singer Carin Leon) has over 413 million. Their infectious melodies and free-spirited performances also helped them earn a Latin GRAMMY for Best Banda Album of 2021 and a spot on the Coachella bill this year. Perhaps the title of their 2020 album said it best: Our Divertimos Logrando Lo Impossiblewhich translates to “We have fun doing the impossible”.

The group has also become a bright spot for LGBTQ+ representation in the genre, as member Jhonny Caz is openly gay. His brother, singer Eduin Caz, sings about the group’s message of inclusivity and speaks out against naysayers in ‘Cada Quien,’ which features the Colombian superstar Maluma.

Yahritza and Su Esencia

Yahritza y Su Esencia is the latest success story of regional Mexican music. The trio is made up of Yahritza Martínez and his brothers, Jairo and Mando, from Washington’s Yakima Valley.

Yahritza, who is the lead singer, started teasing the group’s debut single “Soy El Unico” on TikTok before the group officially released it in March. The heartfelt corrido that featured Yahritza’s soulful vocals debuted at No. 1 on Billboard’s Hot Latin Songs chart and No. 20 on the Hot 100. With this latest entry, Yahritza make history as the youngest Latin performer to appear on the all-genre chart at just 15 years old.

The family band continued their chart success with their debut EP, Obsessedwho open to n°1 on the regional Mexican album chart in May, showing that the genre’s next generation doesn’t just resonate, it dominates.

Listen to GRAMMY.com’s Hispanic Heritage Month 2022 Playlist Featuring Anitta, Selena, Bad Bunny, Shakira and More

Deadmau5’s We Are Friends Tour Exceeded Expectations in Buffalo

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Photo credit: Léa Sems


Buffalo went crazy for deadmau5 and fellow mau5trap BlackGummy, Kasablanca and NERO on the We Are Friends Tour!


The sun was shining, the temperature was pleasant and music lovers, young and old, were gathered at the Buffalo Outer Harbor on lake erie for a refreshing musical evening hosted by mau5trap. The programming for this We are friends the tour stop was quite impressive, with beloved artists BlackGummy, Kasablanca, NEROand the mau5trap king himself, deadmau5.

It’s been a while since I’ve seen deadmau5 in action, last time in Atlanta at the Dome where he took his Pilot test alias for a ride. And since I’m hopelessly devoted to his unique sound and style, I knew this event was not to be missed. Going in I had high expectations, but realized that outdoor events can often be a little tricky, especially when it comes to the logistics behind security, vendors, sound, etc.

From the moment I walked into the venue and was greeted by smiling security, I had a feeling deep in my soul that I was not going to be disappointed. After a much appreciated and heartwarming weapons check, I made my way through a mini-tunnel to Lakeside Lawn, where the musical magic began.

Kasablanca @ deadmau5 We Are Friends Tour (Buffalo Outer Harbor)
Casablanca || Photo credit: CP ABBOTT

Lake Erie shimmered under soft blue skies and altocumulus clouds, and for a brief moment I had visions of The Gorge in Washington.

The setting reminded me of my time at ABGT250, where just beyond the stage is a magnificent view of nature in all its glory. Birds soaring high and sweet organic scents added to the ambience like BlackGummy set a big, tech-powered, progressive tone that will remain the theme for quite a bit of the night. Kasablanca went a step further and proved that DJing is a real art form with a multi-faceted live performance.

Once a third of NERO took over, the atmosphere slipped sideways into bass territory. Given that I’m pretty deep into the house and techno scene, I’m not usually one to headbang, but my head definitely banged during this set. I even found out how much fun it is to stick a bass face and rage! To my delight, NERO even weaved in a jaw-dropping drum and bass tune as Dimensions remix of ‘Timewarp’ sub-focus sounded through the speakers.

While NERO certainly brought out the animal in me, it was deadmau5 that left me puddled on the grassy dance floor. Of “Escape” at “Average,” “Channel 43” at “when summer dies,” “X Y Z” at “take me high“, and everything else, deadmau5 served up a clinic! I can honestly say this was my favorite set of him that ever graced my ears.

NERO @ daedmua: We Are Friends Tour
NERO || Photo credit: CP ABBOTT

Easy access to amenities added extra pep to my step.

As soon as you enter the lawn by the lake, attendees could stop by the ticket tent for drinks and food. Each ticket was $1, and depending on your order, the cost was about nine tickets for a beer and about ten tickets for food. While the GA bar was close to the ticket tent, the food trucks were on the left side of the venue. There were options ranging from Mexican to Caribbean, and of course, American favorites like the delicious cheeseburger that I practically inhaled.

Another welcome addition to the venue was the lounge chair section that everyone could enjoy. It was ideal for families with young children (yes, it was an event for all ages) and for dance freaks who needed to give their feet a break. On the right side of the stage were the VIP relaxation tent, the VIP bar, as well as the ADA viewing section. And with a VIP ticket, you also have access to the best spot on the dancefloor.

In fact, the entire front of the dance floor was reserved for VIPs. Behind that was a fence for the photo pit, and behind the photo pit was where you could find GA ticket holders. This limited GA ticket holders to seeing behind the sound booth and to the left side of the stage, and it was a bit odd to see the front of the dance floor pretty much wide open until deadmau5 take over. But, realistically, no matter where you were on that lawn, the sound was booming and the energy was contagious!

deadmau5 We are friends @ Buffalo Outer Harbor
deadmau5 || Photo credit: Léa Sems

Final ThoughtsIf you haven’t seen deadmau5 on the event circuit, do yourself a favor and buy a ticket immediately!

When it comes to the deadmau5 experience, Joel and his team spare no effort. The lighting production and visuals look to the future, the flow between deadmau5’s classic sound and his new vision keeps the dance floor rippling, and the masterful band of drumming buddies he takes on tour is second to none. . But above all, it’s his incredible fanbase that keeps me coming back for more. PLUR was very much alive that night, and it was wonderful to see that my hometown still knows how to get down!

The We Are Friends tour is only halfway done, with Chicago on the radar for September 23. Check out the remaining dates, and if it’s coming to a city near you, call your friends and buy those tickets because it’s a party you’ll remember for many months to come!


Follow deadmau5 on social media:

Website | Facebook | Twitter | instagram | SoundCloud | Youtube

4 reasons to take out a personal loan for debt consolidation

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Our goal at Credible Operations, Inc., NMLS Number 1681276, hereafter referred to as “Credible”, is to give you the tools and confidence you need to improve your finances. Although we promote the products of our partner lenders who pay us for our services, all opinions are our own.

If you’re juggling high-interest credit card debt, taking out a debt consolidation loan to pay off those balances offers 4 major benefits. (Shutterstock)

You can consolidate high interest credit card debt many ways, including home equity products (if you own a home), balance transfer credit cards, and personal loans.

Here are four reasons why you might want to consider a debt consolidation loan to settle your high-interest debts.

If you want to consolidate your debt, Credible makes it easy to view your prequalified personal loan rates from various lenders, all in one place.

What is debt consolidation?

Before we dive into why a debt consolidation loan makes sense, let’s define what it is. Debt consolidation consolidates multiple debts into one account with one easy-to-manage payment. It’s a strategy you can use to simplify the debt repayment process and potentially save money on interest. If you are overwhelmed with debt, debt consolidation can be a smart move.

Although you can consolidate your debts in several ways, the personal debt consolidation loan is one of the most popular. With a debt consolidation loan, you take out a new loan to repay one or more unsecured debts that you already have. It gives you a manageable monthly payment so you don’t have to worry about juggling multiple debts, interest rates, and payment due dates.

It’s important to understand that while a debt consolidation loan can treat the symptoms of your financial problems, it won’t treat the root cause. Think of it as a tool to give yourself some breathing room so you can get back on your feet and devise a long-term plan for a better financial future.

ADVANTAGES AND DISADVANTAGES OF DEBT CONSOLIDATION

1. Reduce the overall cost of your debt

A Personal loan can help you reduce the cost of your debt in two ways. If you’re able to lock in a lower interest rate than you currently have on all of your debt, you can save hundreds or even thousands of dollars in interest.

Plus, a personal loan gives you a specific end date for paying off your debt. It can help you stay focused on your goals and pay off your debt faster.

Visit Credible for compare personal loan rates from various lenders, without affecting your credit.

2. Refinance your debt without risking your home or other assets

Although home equity products – such as home equity loans and home equity lines of credit (HELOC) – may have lower interest rates than personal loans, they have some disadvantages you should consider:

  • Deplete your home equity — Since a home equity loan relies on the value you have built up in your home, you could find yourself under water on your mortgage and owing more than your property is worth if the value of your house goes down. This could be a serious problem if you are planning to move soon.
  • Put your home at risk — A home equity loan puts your home as collateral. If you fail to make your payments, you could lose your home through the foreclosure process.
  • May not qualify — Most lenders will not give you home equity loan or HELOC unless you have some equity in your home. Your equity is the difference between what you owe on your mortgage and the current value of your home. Although each lender has their own criteria, most will be looking for at least 15% equity.

A debt consolidation loan, on the other hand, requires no collateral, which means you won’t have to put your house, car or other assets on the line. You can also lock in an interest rate below the one you could get with a credit card.

Your rate will likely be fixed instead of variable (as it would be with many HELOCs), so you can budget your payments in advance. And if you have good or excellent creditit may be easier to qualify for a debt consolidation loan than a home equity product.

3. Reduce your monthly payments

If you have a lot of high-interest credit card debt and take out a personal loan with a lower interest rate, you may be able to lower your monthly payment amount. This can free up your cash flow and give you more money to spend on your emergency fund and other financial goals, such as saving for a home or for retirement.

Choosing a personal loan with a longer term can also result in lower monthly payments. But keep in mind that if you go this route, you will pay more interest over time.

4. Simplify your debt

When juggling multiple loans and credit cards, it’s easy to miss a bill payment. Missing a single payment can impact your credit.

A debt consolidation loan allows you to combine several monthly payments into a single loan with a fixed interest rate. It can make the debt refund much more manageable process and reduce your risk of missed payments. Many personal lenders also offer discounts for setting up automatic payments, which will ensure that your monthly loan payments are made on time.

If you’re ready to apply for a debt consolidation loan, Credible makes it quick and easy compare personal loan ratess to find the one that best suits your needs.

The Killers highlight their good side in jubilant St. Paul show

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Good rock songs stand the test of time, but many of the Killers’ best songs on Tuesday Night St. Paul were for those of us who stood the test of the COVID pandemic.

“Smile like you mean it,” frontman Brandon Flowers sang emphatically as his flashy but substantial rock band’s return from Las Vegas kicked off at the Xcel Energy Center.

At the end of the show, he bellowed fervently, “I’m coming out of my cage and I feel great.”

Those songs, “Smile Like You Mean It” and “Mr. Brightside,” were among the many songs played on the Killers’ 2004 debut album, “Hot Fuss,” which topped Tuesday’s set list. The best of those oldies, “All Those Things I’ve Done” – used as a pre-recall finale – never felt more like a triumphal march than it did that night.

A band leaning so heavily on their debut record could be seen as a sign that they haven’t yet managed to match the success of their impressive debut, which is true in the Killers’ case. However, these songs preaching resilience – written by isolated young people and a deep desire to belong – struck a fresh and fiery chord with the 10,500 fans in attendance this time around.

So have some of the new songs born out of the pandemic by Flowers and his team, which again includes guitarist Dave Keuning after a few years of hiatus.

They released an album at the start of the confinement, “Imploding the Mirage”. When their tour had to be postponed, they quickly did another one, “Pressure Machine”. So they were spoiled for choice.

New highlights included “My Own Soul’s Warning,” which opened the show with an explosion of confetti and echoes of U2’s “Beautiful Day.” The more rootsy “Cody” was one of many to air the Springsteen-esque American drama with the help of back-up vocalist Tori Allen’s fiddle.

Best of all, “Fire in Bone” urgently captured the toll of the pandemic with lines like “No one’s gonna save you / You gotta do it yourself.”

Flowers referenced COVID a few times between songs, including his rather humorous greeting before the third song, “When You Were Young.”

“It’s an event that spreads tonight,” said the 41-year-old frontman, who wore a sleek black jacket that could have been left over from Michael Bublé’s X concert two weeks ago. “We spread peace, love and rock ‘n’ roll.”

Adding to the significant undercurrent of the night, the killers also brought one of their heroes. Smiths guitarist Johnny Marr made the case for recent solo material (especially “Easy Money”) while doing justice to some of his old bands’ classics – yes, “bands” plural, since he has also added the electronic nugget. “Getting Away With It” alongside “Panic” and “How Soon Is Now?”

Marr joined the headliners as well, joining the Killers as an extra sideman for the duration of their encore, which included a truly bright cover of The Smiths’ “There Is a Light,” with Flowers enthusiastically cheering the guest on. But then the singer did this to everybody at the show on Tuesday.

Electric Zoo: Inside Moore Kismet’s Head

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Electric Zoo, New York’s premier electronic music festival, closed its 13th year last week, bringing together more than 100,000 fans over three days and more than 100 international artists. I had the opportunity to sit down with one of these artists, Moore Kismet. If you’re unfamiliar with Moore, that’s about to change as their mindset, focus, and high-level creative mind are on their own.

It’s 6 p.m. on the second day of Electric Zoo, just minutes after Moore finished his set on The Landing stage which has also hosted artists like Whipped Cream, Jauz and Diesel. We sit in their green living room and I start with a simple question – “how do you think your set went?” That’s when the Moore Kismet magic begins, and I quickly get a taste of what makes them so special.

First impressions of Kismet Moore

They pause and reflect before responding “I think my set went as well as it could.” It’s Moore Kismet. Throughout our conversation, their unwavering honesty, visceral passion, and reluctance to settle on any aspect of their creative vision was revealed. Moore’s aura was palpable, and I believe they are destined to become a generational talent.

I had just listened to their DJ set thinking it was amazing and very representative of their songs – offering danceable melodies, chaotically clean bass grooves and progressions perfectly suited to pop music.

For most DJs, this was a set it would have been hard not to be satisfied with. Not for Moore, whose seemingly innocent response reveals their harsh inner self-criticism and relentless focus on their musical execution. Whether it’s the music career, the animated television series, or the production company they also work on, there’s no room for complacency, second place, or celebration of success. a performance which they claimed was not the best.

This self-imposed standard is what brought 17-year-old Moore Kismet to concert halls and festival stages around the world, long before he was a legal adult.

It goes further. This is not the story of a teenager who applies the same recipes for success as his predecessors. Meet Moore Kismet, who has taken the electronic music world by storm over the past two years with very hard to find sound design, creative vision and ability to execute musical ideas. It is their essence that compels me to believe how much they will shape the future of not just electronic music, but music as a whole and what it means to be an artist in 2022 and beyond.

It is not an easy path or a manifest destiny. Moore is black and trans and has struggled to balance everyday life, growing up, being a teenager, and the profound challenges that come with musical success. Sometimes everyday life and the feeling of being deformed have become so difficult that just a few weeks ago they tweeted about the possibility of ending the project altogether. But what keeps them going is feeling properly supported, understood, and earning the respect they feel they deserve where they are in their careers.

“The support of the queer community, it’s so wonderful to hear from other queer people, especially queer people in music, who have such unbridled faith in Moore Kismet and me as a creative, to continue to put our community.” -Moore Kismet

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As Moore and I had just met for our interview, it quickly became conversational as Kismet’s real personality is reflected in their music – they are risk-taking, relentless, honest, clear, clean and carry an infectious energy. Their age is usually referenced because it correlates with their age-related accomplishments, but Moore really wants to be asked how they’re doing, how’s life going, – just don’t call them a music artist of low.

“I want to be in my own lane, and sometimes I feel like I’m not really doing a good job if people keep calling me a dubstep artist or a bassist. I am an electronic artist. Call me what I am and respect my music as such. Because otherwise, I’m going to be in a position where I’m not going to want to get out of shit anymore. -Moore Kismet

Kismet Moore’s Music at the Electric Zoo

Their music, although heavy in nature on some songs, dances into a realm beyond standard heavy electronic music. Moore’s take on electronic music, which can be heard on their recent album UNIVERSE, cannot be pigeonholed into a genre tag. In a musical world where artists are commonly categorized as “mixing genres” to try to tell them apart, Moore Kismet is a genre.

Their sound is unique, reminding me of artists who have shaped trends over the years like Skrillex, Kaytranda and now Fred Again, whose sounds transcend fleeting musical trends and introduce musical tropes that are and will become staples for years to come.

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Electric Zoo, New York’s premier electronic music festival, brings the best of the best. From sets like G Jones and Eprom that push the boundaries of sound design beyond belief, to headlining sets ripping from genre to genre in DJ Snake, to some of the catchiest bass lines and creative house music at Chris Lake – Moore Kismet’s set was alone. Their creative art is unique. I couldn’t help but think throughout Moore’s set that this was a set that deserved the main stage with pyrotechnics and a real light show. And next year, I hope to see Moore where they deserve to be – in the limelight for new and experienced dance music fans to witness their creative explosion in the medium it deserves – a main stage.

“I want to energize the main stage so people can see me now, regret putting me on in the afternoon, and book me in later. It’s my thing. I want to show people that I’m worth giving that 11-12 midnight slot. I’m worth C02 and pyro, I’m worth the visuals, I’m worth bringing out gigantic pop stars to perform on-stage collaborations with me. I’m worth it all. And I keep making music that shows I’m worth it. -Moore Kismet

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Final Thoughts on the Electric Zoo

Electric Zoo hosted one of the most refreshing and compelling musical conversations I’ve had in quite some time. And Moore Kismet is ready to have his conversation with you – through his music, his performances, his possible animated series, his production company, and more.

Music fans everywhere need to hear and accept what one of the most heartfelt, honest and well-meaning artists we have had to say. Check out Moore Kismet’s music and merchandise on their website. Maybe one day we can hear their dream collaboration with Beyonce, Megan Thee Stallion, Adele and Halsey.

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PIXELYNX and Laylo team up to power fan messaging and drops

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LONDON and LOS ANGELES, Sept. 20, 2022 (GLOBE NEWSWIRE) — through InvestorWire – PIXELYNXthe music metaverse™ gaming platform founded by revolutionary electronic musicians and tech visionaries Joel Zimmerman aka deadmau5 and Richie Hawtin aka Plasticmantoday announced a partnership with Laylo, a messaging and CRM platform for creators designed for drop notifications and fan engagement. The companies will work together to implement the full suite of Laylo’s Audience Management Suite and bring its customizable creator messaging and drop platform to artists, creators and brands across ELYNXIRthe first game from PIXELYNX due to launch later this year.

Laylo’s unique and easy-to-use platform will allow artists, creators and brands that are part of ELYNXIR to communicate directly with fans via Instagram DM, SMS, email and more. They will also have the ability to deliver new digital products quickly and seamlessly via drops. By using Laylo, artists will retain ownership of their fan data collected from ELYNXIR.

“We love everything Laylo builds. Their platform is essential for any creator or brand entering the Web3,” says Inder Phull, CEO and Co-Founder of PIXELYNX. creators to easily manage their drops.”

“When we heard Inder’s vision for the Pixelynx universe and the creators they’re building with, we knew we had to work together,” says Laylo CEO and Co-Founder Alec Ellin. “Together, we’ll empower creators to create amazing drop experiences for their fans, ownership of their data, and deeper engagement in the ELYNXIR game.”

The ELYNXIR mobile app will be the first step into a dynamic universe that merges music, games and immersive experiences like never before. ELYNXIR’s goal is to empower artists, engage players, and continually grow through the vision and power of creators. The ELYNXIR mobile app is built on the Niantic Lightship ARDK, leveraging thrilling augmented reality and geolocation to experience a world of games, music, artists, collectibles, and amazing content created by the community, much of which offers the possibility of digital ownership, as well as a marketplace to buy, sell and trade.

About Laylo
Laylo is a CRM and Drops platform for creators and brands, helping them drive more sales and streams through direct fan engagement. Launched in 2021 by Alec Ellin and Saj Sanghvi, Laylo powers some of the world’s biggest musicians, podcasters, celebrities and brands, allowing them to automatically notify fans of new content, merchandise and tickets via SMS, email, Instagram DM , Facebook Messenger. , and Discord. Laylo further empowers creators by giving them complete ownership of their fan data. Learn more about laylo.com.

LinkedIn | Twitter | instagram | Website

About PIXELYNX
PIXELYNX is a new video game company created by iconic musicians and technologists Joel Zimmerman aka deadmau5, Richie Hawtin aka Plastikman and music industry visionaries Ben Turner (Graphite; IMS: International Music Summit; AFEM: Association for Electronic Music), Dean Wilson (Seven20 Entertainment / mau5trap), and Inder Phull, a futurist from the musical metaverse. The London and Los Angeles-based company is focused on creating a musical metaverse that will transform the way artists connect and interact with their fans through gaming experiences. Its first mobile game, ELYNXIR, will be released later this year.
More information on : https://pixelynx.io and https://elynxir.game/nft/
Twitter: @pixelynx_io and @elynxirgame
Instagram: @pixelynx_io and @elynxirgame
Discord – Discord.gg/Pixelynx

Media contacts:
Jean Vlautin
[email protected]

Jill Mango
[email protected]

Molly Sheban
[email protected]

Contact wire service
InvestorWire (IW)
Los Angeles, California
www.InvestorWire.com
212.418.1217 Office
[email protected]

A photo accompanying this announcement is available at https://www.globenewswire.com/NewsRoom/AttachmentNg/1e628193-8139-4413-9247-06429e617c1c

Selma Blair brings the ballroom to tears at the DWTS premiere

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It’s a whole new era of Dancing with the stars.

After 30 seasons on ABC, the celebrity dance competition moved to Disney+ for its 31st season premiere – and it didn’t disappoint.

Tyra Banks and new co-host Alphonse Ribeiro were joined by a panel of returning judges Len Goodman, Derek Hough, Carrie Ann Inaba and Bruno Tonioli for the big premiere party, which challenged the group of 16 new contestants to dance to a song that “gets them showing up.”

First, the good news. TikTok Star Charli D’Amelio wiped the dance floor with the competition, earning 32 points for her Cha Cha at Megan you stallion“Savage” with his partner Marc Ballas.

In second place, wayne brady and partner witney carson earned 28 points for his impressive Cha Cha routine at Carl Cardboard“She’s a Bad Mama Jama (she’s built, she’s stacked).”

The most moving moment of the evening was reserved for Selma Blair and his partner Sasha Farberwho danced the Viennese waltz at “The Time of My Life” by David Cook. Selma, who is competing after being diagnosed with multiple sclerosis in 2018, brought many to tears in the ballroom, including judge Carrie Ann and another contestant. Jordan Sparks.

Selma herself broke down in tears upon receiving her scores saying, “I’m so grateful, I’m so grateful.” She and Sasha ended up tied for third place drag race star shangela and his partner Gleb Savchenkoboth teams totaling 27 points.

At the time of the first elimination of the season, jerseyshore star Vinny Guadagnino and partner Koko Iwasaki had the lowest score from the judges with 16 points, but was saved by fan voting.

Debt consolidation loan: what you need to know

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Debt consolidation loan application form with pen, calculator
Debt consolidation loans combine multiple debts into one loan, which can potentially save you money.

Getty Images


If you’re struggling to manage your debts on multiple credit cards, a debt consolidation loan could simplify your monthly finances and help you regain control. When you take out a debt consolidation loan, you pay off multiple debts and replace them with a single loan with a fixed monthly payment. You might even be able to lower your interest charges and monthly payments.

If this sounds like something you could benefit from, consider talking to a lender. You can get a debt consolidation loan offer today.

What is a debt consolidation loan?

A debt consolidation loan can be used to pay off multiple debts, including credit cards, medical bills, and personal loans. Debt consolidation loans are a type of personal loan that you can use to combine multiple high-interest credit cards with one low-interest loan.

You may qualify for a debt consolidation loan of up to $100,000 with flexible repayment terms typically ranging from two to five years.

Why would anyone want a debt consolidation loan?

Taking out a debt consolidation loan may make sense if any of the following circumstances apply to you:

  • You want to pay less interest. If you have multiple high interest credit cards, you might consider debt consolidation into a personal loan with a lower interest rate. According to recent data from the Federal Reservethe average interest rate on a 24 month personal loan is 8.73%, which is well below the average credit card interest rate of 16.65%.
  • You want a specific repayment date. Credit cards offer a convenient way to borrow and pay off debt as you go, but if you only make minimal payments, you could stay in debt indefinitely. For this reason, you may want a debt consolidation loan to follow a repayment plan for a specific duration, with a specific end date when your final payment will bring your balance down to zero.
  • Your credit score is sufficient to qualify. Whereas personal loans are available to borrowers with below average credit, a higher credit score may qualify you for lower rates. Generally, the higher your credit score, the lower the interest rate you can receive. As a rule, you can benefit from advantageous conditions with a good credit scorethat begins with a FICO score of at least 670 or a VantageScore of 661 or higher.
  • You can pay off your consolidation loan in five years or less. Debt consolidation loans are installment loans that usually have a repayment term of two to five years. Of course, the longer you pay off the loan, the more interest you will pay. A debt consolidation loan may be a suitable option if you can minimize interest costs by paying off your loan in less than five years.

The advantages of a debt consolidation loan are manifold. Start saving money and getting out of debt by exploring your loan options now.

How to qualify for a debt consolidation loan?

Qualifications for debt consolidation loans vary by lender, but most lenders strongly consider the following eligibility factors.

  • Proof of income: Almost all lenders require you to meet a minimum income requirement to prove that you have the financial stability to repay your loan. Minimum income amounts vary by lender, and you’ll likely need to prove your income with pay stubs, bank statements, or tax returns.
  • Credit report and credit score: When a lender reviews your debt consolidation loan application, they typically extract your credit report and credit score to assess your credit management history. If your credit is below average, you might be better off taking steps to improve your credit before applying for a new loan.
  • Low debt-to-income ratio (DTI): Your debt-to-equity ratio (DTI) is another important criterion used by lenders to assess your ability to repay your loan. The ratio compares the total amount of your monthly debt repayments with your gross monthly income. For example, if your gross monthly debt payments total $1,000 and your gross monthly income is $5,000, your DTI ratio is 20% (1,000/5,000 = 0.200). Aim for a DTI of 36% or less for your best chance of loan approval.
  • Collateral: Some lenders require collateral for larger debt consolidation loans, often in the form of home equity.

Be aware that some lenders charge processing fees (also known as origination fees) ranging from 1% to 8% of the amount borrowed.

How to apply for a debt consolidation loan?

Taking out debt consolidation is quick and easy, and you can apply by following these five steps.

  • Shop around and compare lenders. Comparing several loan offers can help you find the best debt consolidation loan to meet your needs. Many online lenders allow you to prequalify for a loan to assess your chances of approval and the interest rate you may receive. When you prequalify, the lender usually does a soft credit check that doesn’t affect your credit score.
  • Choose your loan offer and your lender. Consider loans that offer the best balance of low interest rates and fees, flexible repayment terms, and achievable eligibility requirements. After reviewing several personal loan offers, select the one that best suits your needs.
  • Complete a loan application. Once you have chosen a lender, submit a formal application. You will need to provide information about your job, your income and the amount you want to borrow. Your lender may ask you to provide supporting documentation, including government-issued ID, pay stubs, account statements, and proof of residency.
  • Pay your debt. Once your lender has approved your loan application, you must sign the loan to release the funds. Your lender can disburse your loan funds directly to your competitors to pay off debts on your behalf. Alternatively, your lender deposits the money into your account and uses the funds to pay off each of your debts.
  • Keep making payments. Upon loan approval, you are responsible for making payments on your new loan. However, it may take some time for your old creditors to close your accounts. To avoid damaging your credit, continue to make payments on your old accounts until they are officially closed.

Debt Consolidation Loan Alternatives

If you don’t want to take out a debt consolidation loan, there are other options to consider, such as:

  • 0% APR Balance Transfer Credit Card: These credit cards offer an interest-free period of up to 21 months. You can pay off as much debt as you can during the promotional period at 0% interest, but understand that these cards generally require good credit to qualify.
  • Home Equity Loan: You may be able to tap into the equity in your home to pay off your outstanding debts. Typically, lenders allow you to borrow up to 80% of the value of your home, minus your mortgage balance. Home equity loans involve considerable risk since you have to offer your house as collateral.
  • Credit advice: Instead of borrowing money to pay off your debt, you might consider getting credit counseling from a nonprofit agency. An advisor can help you budget and design a repayment plan. Some agencies will even contact your creditors to lower your interest rates. Online financial advisors can also help point you in the right direction.

Whether you take out a debt consolidation loan or use another method, eliminate credit card debt can dramatically improve your financial health, but only if you can avoid accumulating new debt and repeating the cycle. As a general rule, never charge more than you can afford.

Hackers steal first footage of new ‘Grand Theft Auto’ game

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Grand Theft Auto continues to be one of the most successful game franchises, but gamers got an unexpected glimpse at some of the game’s next iteration when a leak revealed 90 clip videos from the game, along with the code. debugging and interfaces to help verify that the images were legitimate. Now Rockstar Games, the company behind Grand Theft Autocommented on the leak.

The hacker, going by the nickname “teapotuberhacker”, posted the documents Sunday morning (September 18) in the GTAForums. The hacker also threatened to “leak more data soon,” which could include source code, assets, and test builds of GTA V and GTA VI. This person also claimed credit for a recent Uber hack.

In response, Rockstar Games released the following statement:

We recently experienced a network intrusion in which an unauthorized third party illegally accessed and downloaded confidential information from our systems, including preliminary development images for the upcoming Grand Theft Auto. At this time, we do not anticipate any disruption to our live game services or any long-term effects on the development of our ongoing projects.

We are extremely disappointed to have details of our upcoming game shared with you all in this way. Our work on the next Grand Theft Auto game will continue as planned and we remain more committed than ever to providing you, our players, with an experience that truly exceeds your expectations. We’ll update everyone soon and of course we’ll properly introduce you to this next game when it’s ready. We would like to thank everyone for their continued support in this situation.

– The Rockstar Games Team

The clips would contain footage of the game’s main male and female characters, while showing some of the gameplay taking place in the fictional town.

The first one Grand Theft Auto The video game arrived in 1997 and there have been five different iterations of the game, the last in 2013. While Grand Theft Auto VI is currently in the works, no official release date has been announced, and it’s not yet clear how the leak will affect what will ultimately be released.

The 10 Best Video Game Soundtracks, Ranked

James Devane: Beauty Is Useless Album Review

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Both as a soloist and alongside Maxwell August Croy in the duo En, James Devane makes ambient music soft as moonlight and hard as a bell struck. The drone has usually been its common thread, piercing through a luminous haze that feels like the sum of all frequencies vibrating in a shimmering chord. But the San Francisco musician’s new album for Croy’s Umeboshi label is different. His first solo album in 14 years, beauty is useless retains the pastel hues and creamy swirl of his previous work; its undulating atmospheres could still pass for one of the nebulous seascapes of the romantic painter JMW Turner. But this time, he drops a heavy, rhythmic anchor in the storm-tossed harbour.

beauty is useless‘ nine tracks are all based on a single idea, combining undulating synthesizers with driving rhythms. They remain imbued with the essence of the drone, but where movement in Devane’s music was once a matter of imperceptibly drifting micro-particles, these tracks are propelled by muscular bass drums and shimmering hats. As rhythmic as they are tonal, the chords pulsate at regular intervals, like bursts of flame from an industrial oven.

The division between tone and groove is usually blurred. It’s unclear exactly what he does to his sources, but his processing tricks tend to blur the distinctions between every element of his songs. In the opener “In Your Time,” a slow-motion riff on classic dub techno, the hi-hat motif manifests itself in pinpricks of light puncturing the gathered fabric of Devane’s chords. “Sudden Oak Death” arrives like a rumor from the other side of a drainpipe, its lumpy highlights shrouded in mud. On one track, “Fences In”, drums, bass and pads obviously seem to emanate from different devices; for the most part, its textures are vague like serious rubbing.

beauty is useless can inspire a sense of deja vu. Devane seems determined to invoke a style of ambient techno that flourished between the late 1990s and mid-2000s. Taken as a whole, the album feels like an investigation into the tropes and trends that were then in vogue; some of its benchmarks are remarkably specific. In the slow motion of “In Your Time” and the elliptical loops of “Sudden Oak Death” there are echoes of Wolfgang Voigt’s M:I:5 alias – a highlight of Kompakt’s predecessor Profan – and also Kompakt-by Dettinger, both of whom used sampling to generate dizzying, off-kilter loops. The stained chords and muffled kicks of “Bygone Trouble” are reminiscent of Voigt’s more famous GAS alias, while the controlled ecstasy and winding forward motion of “Somatic Marker” and “Fences In” are reminiscent of another Kompakt artist, The Field. “Can’t Be Here,” meanwhile, suggests a tantalizing fusion of Vainqueur, an underrated alchemist from Berlin’s Chain Reaction stable, and Luomo, Vladislav Delay’s deep house alias, pairing the ethereal wash from the former to the twisted bass lines of the latter.

Tel Aviv Arab Music Festival Brings Arab and Jewish Audiences Together

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For three consecutive nights we listened to Arabic music from a wide variety of different genres at the highly successful and entertaining Arabit Festival in Jaffa which served as a testament to the diversity of contemporary Arabic music that incorporates the latest international trends and styles. and has completely transformed the traditional genre, so much so that music purists are wondering “is this even Arabic music?”

I find this question a little irritating because Hebrew-language music doesn’t seem to face the same kind of scrutiny when inspired by Brazilian hip hop, K-pop, and even hyper-pop.

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Nizar Elkhater

(Photo: Itsik Biran)

So in the same vein, when excellent musicians — Arabs from Nazareth, Jaffa, Haifa or Ramla — play reggae, hip-hop, electronics and drones, they still play Arabic music, even if it does not strictly adhere to traditional melodic and rhythmic traditions. rules.

Arabic music in its traditional form, whether classical Egyptian poetry (such as Abdel Halim Hafez or Umm Kulthum) or orchestral work, has several common denominators that distinguish it from Western music.

First and foremost are quarter tones and maqam – an improvisational technique made up of melodic modes that define the pitches, patterns and development of a piece. A millennium of Middle Eastern music has relied on these maqams.

But Arabit Festival represents contemporary music where these maqams no longer play any role. And yet even the hippest bands we heard this week pumped out melodies and beats that reminded us time and time again that we still listen to Arabic music – fascinating, marrying the old and the new, the traditional and the revolutionary.

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“A local artist, even if he makes music with international flavors, still makes Arabic music,” Arabit artistic director Hassan Masri told Ynet.

“Because of the language he sings in, because of the subjects he sings about, and because of the elements of traditional music language that weave into his work, consciously or unconsciously.”

Take Zenobia, for example, a fantastic electronic duo from Haifa who feature a mix of fast synthesizer beats with traditional Levantine melodies that got the whole crowd moving.

Experimental band The Hallways presented another mesmerizing mix of east and west, weaving drum machines and heavy synths into a slow drone beat with Arabic melodies and mesmerizing vocals from Isra Shalabi.

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Zenobia

(Photo: Itsik Biran)

It is just one of many groups comprising both Arabs and Jews, the largest of which is System Ali – a nine-man hip-hop group whose members sing in Hebrew, Arabic, Russian, Yiddish , Amharic and English and whose work is inspired by the intersection of the different identities of the members of the group. System Ali’s music is underpinned by a clear social agenda that seeks to bring out a mixed and egalitarian societal model.

However, the full lineup did not appear at this week’s festival with their familiar repertoire, only three members – Neta Weiner, Samira Saraya and Muhammad Mugrabi – as part of a mesmerizing show where Weiner welcomes performers with interesting life stories.

“There’s definitely a stylistic influence from what’s happening in the world of global music. That’s how cultures grow, and that’s wonderful,” Saraya told Ynet.

“Our musical work demonstrates how it is possible to maintain a shared community whose members come from different cultures and to create art from mutual understanding and respect.

Neta Weiner and Samira Saraya perform at the Arabit Festival

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We are not afraid to meet the other and we refuse to submit to the forces that divide and segregate. Most important is our belief that music has the power to change, together, existing reality.”

As far back as I can remember, this is the first time that a single festival has covered the full breadth and breadth of local Arabic music – from traditional folk to classic Arabic pop to experimental electronic musicians.

The more traditional wing of the festival was represented by Nizar Elkhater and his ensemble ABAAD who cover the classics of Lebanese pop by the three great divas of the land of cedar – Fairuz, Majida El Roumi and Julia Boutros.

Even in the music of Sama Shoufani, a very active young artist from Nazareth, the influence of the classics is evident, although she creates her own music and brings a more modern voice.

5 See the gallery

סמא שופאני סמא שופאני

Sama Shoufani

(Photo: Itsik Biran)

Diwan El Yemen is another cool band with a more folky vibe that performs forgotten Jewish-Yemeni music in Yemeni Arabic.

Lina Makhoul – the winner of the 2013 Israeli edition of The Voice who has gone on to an international career ever since – represented the epitome of mainstream pop with flavors of classic Arabic pop à la Fairuz, American pop and tons of material original.

On the other side of the spectrum, the festival featured hip-hop groups such as DAM, which has been around for two decades and is famous for its hard-hitting lyrics on topics such as poverty, women’s rights and the deprivation of their rights; and Ramla-based rapper Sameh “Saz” Zakout with his brand of upbeat and energetic hip hop who has been performing as part of Dugri’s duo with Jewish rapper Uriya Rosenman since their much talked about single Let’s Talk Straight.

Personally, I find this kind of collaboration fascinating. For example, band Ministry of Dub-Key sees super-energetic folk singer Walaa Sbait team up with American dub DJ Bruno Cruz to create a captivating musical fusion.

5 See the gallery

CONTAINCONTAIN

Conclusion: Arabit Festival offered us three rich and magical nights and a stage for contemporary artists that we wouldn’t necessarily see on the big stages while bringing together a diverse audience.

I don’t know if there were more Arabs or Jews in the audience, but one thing is clear: there were people who came to listen to good music together, and that’s all that matters.

Mura Masa: Demon Time review – fleeting dance-pop joys | Electronic music

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Pproducer Alex Crossan, aka Mura Massastuck to the “difficult second album” trope when it came to the 2020s release RYC. Displacing the brash, vibrant pop that made its name on 2017’s self-titled debut album, RYC was dull and brooding, trading themes of isolation, anxiety and nostalgia against a backdrop of stifling drums, post-punk guitars and plaintive vocals.

After the Covid lockdowns, Crossan has thankfully found joy again. demon time features a star-studded list of collaborators — singers Shygirl and Erika de Casier and rappers Slowthai and Unknown T, to name a few — with Crossan giving them carte blanche in the studio. The result is contagious on club vibes Hollaback female dogfeaturing Shygirl, as well as featuring De Casier on R&B bop E-motions.

The disc was originally titled Fun for good reason, as Crossan supplies floor fillers in a range of zeitgeisty genres: UK garage on the 3 of a type sample BbycakesPC Music-style hyperpop on Slomo, and reggaeton on the recent single bless me. Yet Crossan never deviates from the formula. Each track is a verse-chorus sugar rush, providing the listener with a three-minute hit of predictable entertainment in radio-friendly styles. It’s momentary pleasure – a party bottom piece rather than Crossan claiming its own attention-grabbing sound.

Georgia football dominates South Carolina to improve to 3-0 this season

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COLUMBIA, South Carolina – South Carolina and its fans have been packed into a frenzy for a big game atmosphere.

White towels. The familiar electronic dance song Sandstorm. The entry of 2001: a space odyssey.

After kick-off, things calmed down on Saturday and ugly for the home team.

Georgia (3-0, 1-0 SEC) more than looked to the role of the nation’s No. 1 team in the AP Poll and No. 2 in the USA Today Sports AFCA Coaches Poll by taking control early and rolling to 48 -7 victory.

Summary of the game:Georgia 48, South Carolina 7: Get postgame analysis and commentary from the Bulldogs’ SEC opener

In case you missed it:UGA Law School graduate Greyson Lambert on record day against the Gamecocks and life after football

Sep 17, 2022;  Columbia, South Carolina, USA;  Georgia Bulldogs quarterback Stetson Bennett (13) takes on the South Carolina Gamecocks in the second quarter at Williams-Brice Stadium.  Mandatory Credit: Jeff Blake - USA TODAY Sports

Those fans in a crowd of 78,212? Many headed for the outs late in the first half as the Bulldogs took a 24-0 lead. The student section was barren before the end of the third term.

“We kind of intended to get out there quickly and try to make sure the fans weren’t really a factor in the game,” Bulldogs tight end Brock Bowers said.

Here are five takeaways as the Bulldogs improved to 3-0 this season:

Historic boost by Georgian football

These two border rivals have been playing football against each other since 1894.

That year at Columbia, Georgia won 40-0.

It was the Bulldogs’ biggest win in this series. Until Saturday.

In the 75th meeting between these now SEC East teams, Georgia’s 54th win in the series became the most lopsided.

“I thought we challenged our guys to come on the road and play very physically,” coach Kirby Smart said. “Attacking from the start. We talked about not stepping on water when you come in. You come here to be the striker.

Georgia beat South Carolina (1-2, 0-2) 472-197 in the first three quarters and forced Spencer Rattler (13 of 25 for 118 yards) to a pair of interceptions. Georgia beat the Gamecocks for the game 547-306.

Safety Malaki Starks grabbed his second pick of the season to gain early momentum after a 46-yard pass to Jaheim Bell. Starks returned 42 yards to set Georgia up for a touchdown to make it 14-0.

Smart was on the sidelines when South Carolina earned its only victory with a No. 1-ranked team.

The Gamecocks upset Alabama 35-21 on October 9, 2010, when Smart was defensive coordinator and current Gamecock coach Shane Beamer was an assistant in South Carolina under Steve Spurrier.

This week, Beamer was asked if he’d like to have this team’s quarterback, Stephen Garcia, on the sidelines on Saturday.

“I would definitely feel better if I had guys like Stephon Gilmore, Alshon Jeffery, Melvin Ingram and those guys, Marcus Lattimore playing like we did last time,” Beamer said.

South Carolina played without four injured defensive starters: cornerback Cam Smith, safety RJ Roderick, linebacker Mo Kaba and point carrier Jordan Strachan.

Brock Bowers a scoring machine

Bowers was so good Saturday that he got time to do a financial credit union commercial during halftime on the Georgia Bulldog radio network show.

OK, it was recorded.

The second-year tight end scored three touchdowns on his six touches in the game.

The first came on a Kenny McIntosh backhand that Bowers took 5 yards for the score, his second on the ground as a Bulldog.

He went down with a jump ball in the corner of the end zone on a fade late in the second quarter on a 6-yard pass from Stetson Bennett.

Then in the third quarter, he went 73 yards on a catch-and-run for his third touchdown of the game.

After a fake pass from Bennett, Bowers grabbed the ball from around the 40-yard line. He missed one defender and bounced off another and was gone.

“I said to Carson (Beck) last night for some reason, get the ball in the hands of 19 tomorrow,” Bennett said. “I feel like he’s going to have a good one tomorrow and he did.”

Stetson Bennett suffers bad spell on another big day

Bennett’s very first game action in South Carolina was memorable not only for the way the Bulldogs offense moved the ball, but also for the fact that he endured some inconvenience in the game.

Bennett went on the sidelines after throwing the touchdown to Bowers in the second quarter.

After the game, he vomited on the pitch.

“I threw up some of the water and had to rehydrate there,” Bennett said. “From overhydration to dehydration. It was a weird thing.”

He never missed an offensive snap but came out on the extra point when he usually holds. Center Sedrick Van Pran-Granger told reporters that Bennett threw up a few plays earlier.

“He was actually deadlifting in the drive earlier when he threw a pass into the flat and didn’t quite make it,” Smart said. “It wasn’t a good pass and I could tell something wasn’t right then. He fought all the way. … He kept saying he felt like throwing up and he did. He’s a competitor. He wouldn’t come out.”

Bennett said he once vomited during a game while sick, but didn’t feel sick this time.

“I didn’t even know it until I got back,” Bowers said. “Everyone was talking to him and giving him water and stuff. I’m like, what happened? He said, ‘I threw it away and I just threw up.

Temperatures were in the mid-80s during the game, but felt warmer on the pitch.

“It’s the hottest place in the world,” Bennett said.

Bennett’s late grandfather, Buddy Bennett, played quarterback for the Gamecocks from 1958 to 1960.

Stetson Bennett was 13 of 20 for 166 yards and a touchdown at the time when he had to retire briefly from the game.

“He was fine after that,” Van Pran-Granger said. “He took it out of his system.”

Sick on the sidelines:Georgia QB Stetson Bennett checked after TD against South Carolina Gamecocks

Bennett still hasn’t thrown an interception in three games this season.

Bennett added a rushing touchdown of the game in the third quarter on an engineered run, deking a Gamecock player and going 11 yards for a touchdown.

Bennett was 16 of 23 for 284 yards with a pair of touchdown passes and 36 rushing yards and the touchdown. He was sent off after diving towards the pylon in a first-half run that was almost another score.

South Carolina has given up the most points in 16 games under Beamer.

Georgia Bulldogs co-defensive coordinator Will Muschamp makes triumphant return

Will Muschamp’s return to South Carolina where he was fired as head coach in 2020 has been triumphant.

“We knew how much it meant to him,” cornerback Kelee Ringo said.

The Bulldogs’ defensive co-coordinator with Glenn Schumann saw his unit rule out a Gamecock team until a 13-yard touchdown pass with 53 ticks on the clock from quarterback Luke Doty to Traevon Kenion.

Inside linebacker Trezman Marshall’s interception in the red zone with 4:33 left ended another scoring chance.

“Just the way Coach Muschamp continues to put us in a great position to be able to make plays and the plans he’s leading as well, having him with Coach Smart and Coach Schu on the same team is definitely a huge thing,” Ringo said. . “Just the three of them together makes everything easier there. You just have to know what you’re going to be able to see throughout the week at the game.”

Muschamp was booed when he walked out before kickoff, but it was hard to tell if it was directed at him or anyone wearing a Georgia uniform or shirt.

He hugged some Gamecocks staff earlier during warm-ups and wore a red and white striped Georgia polo shirt.

A South Carolina team that scored 30 points and rushed for 416 yards in a loss at Arkansas last week was held to 306 yards, much of it in the fourth quarter.

Inside linebacker Jamon Dumas-Johnson led with six tackles, all solo. Georgia held South Carolina at 4 of 13 on third downs.

“It definitely helps to have ways to affect the quarterback, good passing throwers,” Smart said, “and it helps to play up front, which, you know, our defense was able to do. when we scored in attack.”

The Gamecocks were just 2.7 yards per carry and 4.1 yards per play when they made it 48-0 with 8:57 to go.

Muschamp went 28-30 from 2016 to 2020 as Gamecocks head coach. He was awarded $12.9 million as part of a settlement agreement with the school.

Georgia has allowed just one touchdown this season.

UGA defensive lineman Jalen Carter limited, tight end Arik Gilbert out

Jalen Carter didn’t start for the first time this season after dealing with what Smart called a lower extremity injury, but he made his presence felt for the limited shots he got.

The 6-foot, 300-pound preseason All-American defensive tackle and projected top 10 in the 2023 NFL Draft worked mostly on third and fourth downs and had a pair of tackles, both in the first half -time.

Smart wants more from the defensive line which got two tackles and two rushing quarterbacks from rookie Mykel Williams.

“Look, we’re not where we need to be,” he said. “We have young players who can help us. They can’t help us until they go against our only offensive line about 1,000 more reps. And I can’t get 1,000 more reps in two weeks. We have to prepare them faster. We don’t have the depth we had.”

Meanwhile, Arik Gilbert who didn’t make much of an impact in the first two games as a reserve behind Bowers and Darnell Washington didn’t make the trip at all.

Smart said during the week that it was the practice evaluation and understanding of the game plan that kept Gilbert from seeing more shots.

He was out last season for personal reasons, but had a big spring game with two touchdowns this year.

“All I can say is he didn’t make the trip for personal reasons,” Smart said on Saturday. “Hoping he comes back with us.”

Montell Fish Announces Tour And Shares New Single “Hotel”

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Fresh off her critically acclaimed debut album JAMIE, Montell fish announced their first US headlining tour A Night With A Ghost and released a new single “Hotel”.

The tour will support JAMIEdeserved praise from Billboard and The New York Timesand landed him his late night television debut on The Tonight Show Starring Jimmy Fallon.

The 11-date tour, which is already nearly sold out, will find Montell face-to-face with his vast fanbase (his crooning and heartfelt music has amassed over 4 million monthly Spotify listeners), while also giving him the opportunity to exhibit his talent for live performance and flex his dynamic showmanship.

“Hotel” is a powerful, evocative ballad with chunky, big-bodied synths, warm, waining guitar licks, and his richly melodious signature vocals, which equates to a bold new sound for Montell Fish. This month, Montell also released the JAMIE film, a complementary project to the first album, with exclusive and original music by Montell. After releasing a stunning debut album, bringing his talents to late night TV and continuing to reinvent his lucid sound. Montell Fish is ready to usher in the next chapter of his career with the A Night With A Ghost tour and his new single, “Hotel”.

In the words of Montell: “‘Hotel’ is meant to represent the start of the next chapter after JAMIE, a kind of post-breakup anger. Instead of soft, ambient guitars, I wanted to contrast it with dark, heavy bass and a rockier guitar solo towards the end. I’m excited to go on tour, it’s like inviting people into another world.

As noted To monitor“Spanning multiple disciplines and blending gospel and new age soul with lush electronica-infused soundscapes, rising artist [Montell Fish] speaks to a new generation of creatives who truly feel limitless. Her hit, “Fall In Love With You,” showcases her heartfelt improvisational songwriting over waning instrumentation. After a string of highly successful singles, including “Talk 2 Me” and “Destroy Myself For You,” Montell Fish gave us all of his contemplative perspective, methodically crafted production, and holistic connection to his faith on his recently released debut. album JAMIE.

Buy or spread “Hotel”.

New FØRGE nightclub with ‘British techno powerhouses’ and international dance DJs opens in Sheffield this weekend

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FØRGE will be based in an old Victorian steel forge on Effingham Road near the town center and will feature local and international DJs.

Read more

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Sheffield chicken protest: Humane League protest outside Morrisons supermarket where…

The venue is due to open later tonight and there is also an event taking place tomorrow night.

A new nightclub is due to open in Sheffield later this month.

Club night starts at 11 p.m. and lasts until 5 a.m. with last entry at 2 a.m.

Dax J, a UK-born, Berlin-based DJ, is due to be at the opening party.

Posting on Facebook, the club’s operators said: “We want to welcome you inside to experience the venue thoroughly, so we’ve invited three UK tech powerhouses to celebrate the occasion.” Fabric star and resident IMOGEN and Drumcode affiliate Boxia will take the reins of the main warehouse and put our state-of-the-art Pioneer facility through its paces for the very first time. “In our stripped-down workspace we have some of Sheffield’s most exciting DJs keeping things going. We’re joined by the dynamic alex.aubyn, Chapel Walk from As Is, DJ Malice from Mondo Radio, Colecta from THIRDSPACE , Magnetic North’s Fen and GROUNDWORK affiliate Porter Brook Dress to sweat.

It is reserved for people aged 18 and over. A valid ID is required for entry and FØRGE is a cashless venue.

A number of music fans have taken to social media to express their excitement for the new venue.

Tommytraxrecords described the venue as “Classy!!!” on Instagram.

Another said he “can’t wait to play in this room”.

Foreign Air’s Intimate Return to Launch Second Studio Album ‘Hello Sunshine’ – The Vanderbilt Hustler

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Alternative indie band Foreign Air perform at EXIT/IN after their three-year hiatus to give devoted fans a sneak peek at their recently released album, “Hello Sunshine.”

Eigen Escario

Foreign Air performing at EXIT/IN, pictured September 6, 2022. (Hustler Multimedia/Eigen Escario)

native of philadelphia Anna Shoemaker shook the stage on their very first tour as members of foreign air stood among the littered crowd at EXIT/IN on September 6. Audiences were drawn to the guitar riffs and youthful lines that flowed confidently from Shoemaker’s lips.

Such a line stayed with me; Shoemaker sings “I can organize my life, but I don’t want to”, in his song “Change My Mind”, acknowledging the power of young contemporaries to recognize and solve their problems while basking in the chaotic mess of it . everything.

After opening, there were only about 20-30 people present. All approached the stage with anticipation as Jacob Michael and Jesse Clasen, accompanied by their longtime collaborator Luke Adams, took the stage and immediately immersed everyone in the room with heavy bass, dark melodies and moody vibrations. The foreign air had entered the room.

Foreign Air performing at EXIT/IN, pictured September 6, 2022. (Hustler Multimedia/Eigen Escario)
Foreign Air performing at EXIT/IN, pictured September 6, 2022. (Hustler Multimedia/Eigen Escario)
(Eigen Escario)

They played the first song without much farewell: “Blue Days,” a number about the madness of isolation and critical self-reflection. The lights turned to a pale blue and the crowd listened to the new song with the lyrics “I feel so rearranged, it’s like they cut me to pieces and put me in a suitcase.”

This song is also the opening track of their new album “Hello Sunshine”, released on Saturday September 10th. However, fans had gotten a taste of “Hello Sunshine” with the release of the single “Night at the Zoo”. on the album at the beginning of last summer. Drummer Luke Adams spoke a bit about the band’s songwriting process in an interview with The Hustler.

“‘Hello Sunshine’ was a compilation of songs from the past two years that ranged from everything from writing sessions in LA to New York to DC,” Adams said. “It kind of brings together all kinds of different musical genres, which is really fun.”

Since the timeline of the writing process for this album coincided with the pandemic and resulting pauses in the live music scene, several songs reference feelings of hopelessness and pent up frustration. These emotions were also reflected in the preparation for the hard-hitting production of the backing vocals. Especially in “Anything is possible”, feelings of nihilism raise the question: “Is this real or are we dreaming?” before the climax hits with repeated lines from the song title.

In their journey as a band for 3 years, Adams also talks about the evolution of their style, building on their repertoire with different sounds and vibes.

“There are songs that are definitely more electronic, a harder kind of electro music that’s more indie-based,” Adams said of songs like “Night at the Zoo.” “The new stuff has more indie-rock instruments, a little more fully acoustic, a little more naked, that it’s been fun to come back to.”

Foreign Air performing at EXIT/IN, pictured September 6, 2022. (Hustler Multimedia/Eigen Escario)
(Eigen Escario)

Foreign Air songs recall Atlantic Hunt and other alternative artists who have tapped into the indie-rock-electronic genres effectively and cohesively. During their time together, Michael and Clasen have definitely harnessed their synergy to produce music that can serve as a soundtrack for anyone who wants to feel like they’re walking around town in an early 2000s movie.

While performing, Clasen shared an anecdote about “Dum Dum,” a song from the band’s previous album, “Good Morning Stranger.” The song features layers of pitched and stacked vocal melodies singing “dum dums”, which gives a Christmas carol feel to the track.

“I was living in Los Angeles at the time I filmed my role [for the “Dum Dum” music video], so I’m in a full green screen suit, right? Clasen reminded the crowd. “So my door is like *boom boom boom boom*…I answered the door in a full green screen suit and blonde wig with sunglasses. I think I scared the guy. He was asking where his iPhone was. I said, ‘No, I don’t have your iPhone, man. Get off my porch please, you’re scaring my cat!'”

For their first major production live show in three years, Foreign Air captured the eyes and ears of audiences for the duration of their hour-long show. Their stage presence exuded charisma as they connected with the few who showed up to enjoy the show, and the crowd shared the energy.

“There are energies that you get when you do these live shows that we haven’t done in a long time, so it definitely fills you up and makes you feel good,” Adams said. “To see fans singing some of the old songs and then introducing some new stuff is really cool.”

The group ended the show with “Free Animal”, the first song which they released on SoundCloud in 2016 and a track that was immediately wanted for commercial use for big brands like Nike and Microsoft. Some dedicated fans in the crowd had tears streaming down their faces as Foreign Air ended the same way it started – a full circle moment indeed.

NEWS: Scott Matthews @ Mairie de Middlesbrough/Le Cluny | NARC. | Reliably informed

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Boldly going where he’s never gone before, Scott Matthews will perform songs from his recent album New Skin, who are bipolar in terms of his previous back catalogue. An album described as being reborn in a new form, circumstances arranged for Obligate the artist to undergo a fundamental reinvention. Jtaking the hand extended to him and other artists (i.e. the horrors of Covid) he started to cleverly molding a thing of ambient and electronic exquisiteness.

The new skin is the Ivor Novello Award-winning artist seventh studio album, and he will delight the public at Middlesbrough Town Hall the Tuesday 20e and the Cluny in Newcastle Wednesday 21st SeptemberEmbark with tracks from the new record and as-yet-unreleased companion album New Skin: The Acoustic Sessions. The concerts promise an evening that will combine both the new and the old; the famouslily clear haunting water lyricssbruises and Folk shades synonylittle with the tastes of pseudo Duck, I f Buckley and Paul Simon that he has crafted for his audience over the years. An evening of simpleintense bliss and inventive musical alchemy await those who choose to immerse themselves in the sounds of Scott Matthews.

Scott Matthews plays for mayor of Middlesbrough on Tuesday 20e and The Cluny, Newcastle on Wednesday 21st September.

How can brands engage dance music fans?

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Robbie Murch is a DJ, online community expert and founder of cultural agency Bump. Following the release of his agency’s inaugural On the Record report, Murch is exploring the brand’s opportunities in dance music.

Economically, the dance music industry is still finding its feet. Before Covid-19, dance music fans in the UK supported a nighttime cultural economy contributing £36billion to GDP. Culturally, dance music continues to permeate pop culture and society. Drake’s Honestly, Nevermind and Beyonce’s Renaissance tapped into dance music sensibilities this summer, while among the top 500 UK festivals in 2021 the dominant sound was electronic music.

Dance music has long been a movement for progression and positive societal change, but there is still much to be done. The Jaguar Foundation recently discovered that just 1% of dance music played on UK radio in the past two years was exclusively by a female or non-binary artist. Kudos to UK festivals for increasing representation from 14% to 28% (a 100% increase) over the past four years.

The results follow “On the Record,” my agency Bump’s new annual news release. The report surveyed 1,807 music fans, featured 16 interviews with leading industry professionals, and asked 92 questions to understand Gen Z’s behavior towards music and brands in 2023 and beyond. The report reveals five key themes.

1. Progressive Idealists

45% of the dance music community strongly agree that they use brands that promote equality and are inclusive compared to 34% of mainstream music consumers. Jaguar (BBC Radio 1) says: “The dance music community is special. There’s plenty of room to be political and opinionated because of where dance music comes from: the underground, the gay scene, people of color, and rebellion against norms. »

2.5 times as many dance music fans have boycotted a brand in the past year compared to mainstream music consumers. Dance music fans are looking for who they invest in. If you say anything, you must live and die – otherwise, you’re out.

2. Fans, not consumers

Passionate dance music fans are 13 times more likely to use Bandcamp. They are 2 times more likely to be active explorers than passive consumers of music. Fans don’t just rely on social media feeds and algorithms, but instead use recommendations from the online community.

They put their money where their mouth is: 88% of dance music fans prefer an event over dining out, underscoring the sacredness of the dance music experience for this group.

3. Core Supporters

The dance music community cares about local initiatives. They feel alienated by high profile influencers being paid to read scripted recommendations. 66% agreed that recommendations from real customers and community members are more important than those from high profile influencers.

They want the spotlight to be on new emerging talent, not those who are already enjoying commercial success. Neel, a 23-year-old London-based DJ and party organizer, said: “I love seeing someone grow from being relatively small to playing more, getting their music heard more. It’s nice to see that kind of growth.

4. Knowledge Seekers

Part of the power of online community lies in the ability to share and co-educate one another. Dance fans are 2x more likely to share daily news, music or events and 30% more likely to listen to educational podcasts. 48% would like to attend more interviews, conferences or masterclasses if the opportunity arose (compared to 26% of the general public).

Driven by a thirst for learning, dance fans crave educational content. Electronic DJ Plastician says, “It’s like a telepathic understanding that we’re all here to learn something, and we’d like to learn it from people who know more than we do.”

5. Brand criticism

Dance Music Fans Are Going Green in Their Buying Decisions; targeted marketing and investment are most likely to get results. 66% of dance fans (vs. 14% of mainstream fans) say, “I buy from brands that clearly demonstrate what they’re doing for the environment.”

80% of dance music fans agree that brands can help address broader music industry issues such as diversity and inclusion, mental health, and substance abuse. Kirsty Harper, DJ and social media editor at the Cannes Lions, says: “Clubs and brands sell alcohol and make money by getting people intoxicated, right? So they have some responsibility. As an industry built on good times and synonymous with substance use, the community believes that brands benefiting from its involvement must do their part.

In a time of declining ticket sales and Web3, one of the best things brands can do is give capital to artists and people rooted in the culture, instead of trying to capitalize on it. Too often we see lazy attempts to commodify culture, rather than contribute to it. Brands should be allies, not just sponsors.

“On The Record” is a new series of analysis reports from Bump. On the Record Vol 1 illustrates the rise of community, the rejection of mass influence and what this means for brands – through the lens of music fans versus mass consumers. For full access to the report, register here.

Flexible Fire delivers dreamy soundscapes on new EP

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Argentinian DJ and producer Flexible Fire heads to Monstercat Silk with his latest release, the two-track Alpine EP.


While it might be easy for many who love the sound of progressive house in the northern hemisphere to point to producers from countries like the US, Canada, Germany or the UK, it there is a thriving scene in the southern half of the planet too. A new artist who helps prove that it’s Dario Tellootherwise known as Aerial draw Where Flexible Firewho hails from Argentina and produces a range of soundscapes in downtempo, deep house and progressive.

Dario Tello impressed listeners for over a decade on the trance and progressive house scene under the name Airdraw, with releases on labels ranging from Flashover Recordings at silk music. More recently, this Argentinian artist has revived the alias Flexible Fire which offers soundscapes focused on the organic side of the spectrum by delivering EPs like The Cumbre and Sunlight on Silk Monstercat over the past year.

Now Flexible Fire is back just in time for the final days of summer with their latest release, the Two Track Alpine PE that offers a sense of serenity to all who connect. Both “Alpine” and “Azul Lagoon“features beautiful arrangements of ambient chords, synths and percussion, not to mention the inclusion of Latin instruments that flex his abilities as a musician.

“I was able to explore a wide range of sounds as a songwriter, from minimal and melodic in ‘Alpina’ to textural and more groovy sounds in ‘Laguna Azul’,” Flexible Fire said of the EP. These are married with influences from its roots in Argentina to create a special listening experience that offers moments of introspection for anyone who presses play.

Listen to the Alpine EP on Spotify or your favorite platformand let us know what you think of this version of Flexible Fire at Twitter!

Stream Flexible Fire – Alpine EP on Spotify:


Alpina EP flexible light

Follow Flexible Fire:

Twitter | instagram | SoundCloud | Spotify

Debt Consolidation Loan vs Balance Transfer: Which is Right for You?

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Our goal at Credible Operations, Inc., NMLS Number 1681276, hereafter referred to as “Credible”, is to give you the tools and confidence you need to improve your finances. Although we promote the products of our partner lenders who pay us for our services, all opinions are our own.

A debt consolidation loan and balance transfer can help you consolidate high-interest debt. Learn how they compare. (Shutterstock)

Debt consolidation consolidates several debts into a single account. It can help you save money, lower your monthly payments, and streamline your payment process. Although you can consolidate your debt in several ways, debt consolidation loans and balance transfers are the most common.

Here’s what you need to know about each of them in order to determine the ideal debt consolidation strategy for your particular situation.

If you need a loan to consolidate high-interest debt, Credible lets you view your prequalified personal loan rates from various lenders, all in one place.

Debt Consolidation Loan vs Balance Transfer: What’s the Difference?

Debt consolidation loans and balance transfer credit cards are credit products you can use to consolidate other, higher-interest debt. Here’s an overview of how each works.

What is a debt consolidation loan?

A debt consolidation loan is a type of unsecured personal loan. If you subscribe to one, you will receive a lump sum upfront. Then you will repay what you borrow in fixed monthly payments over a set period of time. Although loan amounts vary, they can range from $1,000 to $100,000.

If you have different types of debt that can take years to pay off, a debt consolidation loan is worth considering.

UNSECURED LOANS: KNOW ALL

What is a balance transfer credit card?

Balance transfer credit cards allow you to transfer balances from your current maps to a new card, usually with a 0% APR introductory period of six to 18 months. If you pay off all your debts before the end of this introductory period, you can save a lot on interest. But keep in mind that once the period is over, you’ll start earning interest on the remaining balance on the card, and credit cards can have high interest rates.

If you have a lot of high interest credit card debt and you can pay it off during the introductory period, a balance transfer credit card might make sense.

Advantages and disadvantages of a debt consolidation loan

Before choosing a debt consolidation loan, consider these pros and cons:

Advantages

  • You can use a debt consolidation loan to consolidate several types of debt, such as credit card debtmedical bills and other personal loans.
  • Some lenders will pay your creditors directly so you don’t have to, which will simplify the debt repayment process.
  • Compared to a credit card, a debt consolidation loan usually comes with a lower interest rate.
  • You will have a clear payment date and can budget it accordingly.

Visit Credible for compare personal loan rates from various lenders, without affecting your credit score.

The inconvenients

  • If you don’t have the best credit, you may find it difficult to get an interest rate lower than what you are currently paying.
  • Some lenders charge origination fees, prepayment penalties, and other fees when you take out a debt consolidation loan.
  • There is no 0% APR introductory period like some credit card offers.
  • If you don’t make your payments on time, every time, your credit can take a hit.

WHERE TO GET A $5,000 LOAN

Advantages and disadvantages of a balance transfer

Here are some pros and cons to think about before deciding on a balance transfer:

Advantages

  • You can benefit from a 0% APR introductory period, which can save you hundreds or even thousands of dollars in interest.
  • Some cards offer rewards, such as cash back and travel points.
  • Opening a new card can lower your credit utilization ratio (the amount of credit you use compared to the amount of available credit you have) and, therefore, improve your credit score.

The inconvenients

  • If you don’t pay off your debt before the end of the 0% APR period, you could face high interest charges.
  • Some cards charge a balance transfer fee of 3% to 5% of the amount you transfer.
  • You may not qualify for a balance transfer credit card unless you have good credit.

What to consider when consolidating debt

When comparing a debt consolidation loan and a balance transfer, consider the following factors:

Where to get a debt consolidation loan

You can get a debt consolidation loan from a bank, credit union, or online lender. While banks and credit unions tend to offer competitive rates, they generally have stricter requirements than online lenders. Also, you must join a credit union before taking out a loan from it.

If your credit score is preventing you from getting approved for a debt consolidation loan, you may want to apply with a co-signer who has good credit or take the time to improve your credit before to make your request.

If you’re ready to apply for a debt consolidation loan, Credible makes it quick and easy compare personal loan rates to find the one that suits your needs.

Where to get a balance transfer card

Many banks and credit card companies offer balance transfer credit cards. If you’re having trouble qualifying, check your credit reports and dispute any errors. Also focus on making your payments on time and do your best to pay off some of your credit card debt to improve your credit utilization.

Two Door Cinema Club encourages audiences to ‘keep smiling’ but does little else – The Cavalier Daily

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With the release of their fifth album ‘Keep On Smiling’ – released on September 9 – Northern Irish band Two Door Cinema Club are departing from their better known style of alternative rock. The trio of members Alex Trimble, Sam Halliday and Kevin Baird delve into dance punk territory, highlighted by hearty techno-funk backtracks.

While this experimental new sense of direction driven by electronic beats, 80s pop influences and encouraging lyrics was thrilling to unpack, the repetitive tale of carefree joy ultimately couldn’t be picked up across all twelve tracks. As a result, the album feels shallow and empty by its conclusion, its overly experimental shocking instruments and vague lyrics leaving it with a lack of emotional clarity and depth.

“Keep On Smiling” is almost completed with instrumentals with the first and penultimate tracks, titled “Messenger AD” and “Messenger HD”. The former begins the album with an ominous spiral through drones and dark synths worthy of the “Stranger Things” score – a rather deceptive introduction to an album that is largely bright and vibrant.

The electronic sound is reminiscent of bands such as ODESZA, its futuristic and slightly eerie tone is made clear with the intensity of the synth and frequently fading rhythm. This musical style is maintained throughout the album – many songs feature 80s-style funk synth production.

Although the album sometimes lacks imagination, the heavy use of synthesizers allows the artists to experiment a lot with instrumentals and vocals. This creates a new sound distinctly different from their previous albums which sometimes proves successful. The incorporation of an introspective and almost soothing vocals similar to that of Alan Watts throughout the sixth track “Millionaire” is relatively uplifting and balances well with the song’s other psychedelic layers. The techno-funk instrumentals of the ninth track “Feeling Strange” also complement the track’s title, intentionally and effectively evoking strange drug-induced feelings.

However, these electronic mixtures can also be discordant when mixed in certain combinations. The almost robotic vocals featured in the background of the third track “Everybody’s Cool” — which inconsequentially echo the song’s title several times — seem unnecessarily excessive.

The introduction of autotuned vocals alongside a wall of syncopated electro noise in the tenth track “Won’t Do Nothing” is equally anomalous and offbeat in sound. It’s disappointing compared to the appeal of the song’s retro instrumental track.

The album comes closest to incorporating other styles outside of dance punk in “High” – a breathy, eerie mix of sultry, slow jam and rock ballad. Set to a much slower tempo with calmer instrumentals and more intimate Trimble vocals, track seven attempts to cement itself instrumentally and lyrically in themes of passing time as well as resilience. However, with lines such as “And you’re getting old / But it’s only for a little while” and “Sorry not sorry / Apologies, apologies”, the song is too abstract and has no discernible direction.

The album reaches an apparent finish line with its final two tracks “Messenger HD” and “Disappearer”. “Messenger HD” is airier and less tight than its introductory counterpart “Messenger AD” – perhaps a direct result of the fun that goes on in between.

The minute-and-a-half-long song also introduces a string instrument for the first time on the album, an incorporation that feels out of place but still has a euphoric feeling to it. If “Messenger HD” had been the last song on the album, its dreamy vibe would have brought the record to a close and full circle.

The all-instrumental song is replaced by the final track “Disappearer”, a song that not only spoils the symmetry of the tracklist, but propels an upbeat and joyful musical mood already oversaturated by the album’s previous songs, adding little to the record in his outfit. What looks like a random insertion of the last track, “Disappearer” offers nothing new. It returns to the album’s regular drum beat with Trimble’s vocals once again automatically set and ultimately leaves listeners without a concise ending message.

Most of the tracks seem suitable for driving with the windows down on a hot summer day. This particular sentiment is more successfully and effortlessly conveyed in the album’s promotional singles, “Lucky” and “Wonderful Life”, which are positioned as the fourth and eighth tracks. The lyrics of both songs focus on changing mindsets and turning to the more positive things life has to offer. Alongside a melodic electric guitar sequence, “Lucky” features a particularly memorable chorus with easy-going, harmonious lyrics, proclaiming “We’re running out of luck / I can feel the change / Holding little pieces of what’s left.”

Overall, Two Door Cinema Club’s latest album is undoubtedly uplifting – both lyrically and instrumentally. While the cheerful tone that runs throughout the album certainly evokes positive emotions, the sentiment is dragged on and often feels like an easy escape to delve beyond the superficial lyrics of clichéd euphemisms. His message apart from acceptance of others and hope for the future is unclear.

This lack of clarity stems from the fact that the lyrics are all over the place with meaningful phrases scattered haphazardly, not taking a firm stand on any subject. Additionally, the order in which the tracks are placed relative to each other seems aimless, providing no clear arc or narrative throughout the album. Simultaneously, the catchy tempo of all but two tracks on the album – “High” and “Messenger HD” – makes them hard to tell apart from each other. With “Keep On Smiling” short of emotional depth and thematic message, the album gives audiences an electric adrenaline rush but leaves them unsure of what to do when the smile wears off.

Review: Take the Kids – Take Yourself – to see Leonardo, a wonderful show about a terrible monster at the Chicago Children’s Theater

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It was a rainy Sunday morning, so what’s the best thing to do (instead of staying in bed)? A hundred parents and children—and me—thought the best thing to do was go to the Chicago Children’s Theater. And it was the right decision because we saw the most delicious game for children of all ages: Leonardo, a wonderful show about a terrible monster.

Leonardo (Lindsey Noel Whiting) really isn’t a terrible monster; This is the problem. He sucks at bringing a monster. He can’t scare anyone. So he decides he’s going to find someone he can scare and he begins a search for the scariest kid in the world. With the help of the librarian and electronic database Scaredy Cat Kid, he comes up with a kid named Sam (Sarah Fornace). It turns out that even Sam is hard to scare. In the second part of the play, we meet Kerry (played by Leah Casey), the second scariest kid alive. Sam and Kerry become friends, and the play ends with a message for all of us: to be a wonderful friend.

Leonardo at work with his puppeteer, Lindsey Noel Whiting. Photo by Ben Kauffman.

The play, adapted from two books by Mo Willems, is directed by Sarah Fornace and produced by Manual Cinema, Chicago’s fabulous live-action and retro-tech production company. It’s hard to categorize Manual Cinema, because there’s no other company like them. They call themselves a multimedia artist collective; they’re sort of a theatre, kind of a movie company and all of their old technology and ‘behind the scenes’ work is front and center for the public to see as they perform.

Using hundreds of illustrated puppets, fuzzy Muppet-style puppets, video projection, vintage overhead projectors, green screen techniques, live actors on live cameras and a live soundtrack, Manual Cinema brings the books by Willems in this captivating new show designed for the whole family.

You can catch the show on the big screen to the right of the stage or watch the cast and crew create the story on stage. There’s no right way to look Leonardo.

Kerry and Sam with Cloud. Photo by Ben Kauffman.

After the show, the artists and their puppets are in the large playroom outside the theater where they chat with the children and show them how the puppet works. The playroom is furnished with children’s tables and chairs, overhead projectors and supplies to make your own shadow puppets.

Leonardo was adapted by Sarah Fornace and Drew Dir from two books by Mo Willems: Leonardo, the terrible monster and Sam, the scariest cat child in the world. Music, lyrics and sound design are by Ben Kauffman and Kyle Vegter. Puppet and prop design by Drew Dir and Lizi Breit. Julia Miller and Shay Turnage play Sam and Kerry in other performances.

Leonardo, Sam and Kerry. Image courtesy of Chicago Children’s Theatre.

Leonard! A wonderful show about a terrible monster is recommended from 3 years old. The show lasts 45 minutes without intermission, the performances take place until October 16 on Saturday and Sunday mornings. The Chicago Children’s Theater is located at 100 S. Racine. Free parking is available in the parking lot on the south side of the building. Single tickets cost between $25 and $36, fees not included. Masks must be worn by everyone in the building. (My observation at this event and others is that children don’t seem to mind wearing masks. They just wear them.)

For more information on this and other productions, visit www.theatreinchicago.com.

Did you enjoy this article and our coverage of the Chicago art scene? Please consider supporting Third Coast Review’s arts and culture coverage by making a donation by PayPal. Choose the amount that works best for you and know how much we appreciate your support!

Tom Wax: “When you’ve been doing electronic music for more than 3 decades, it’s a balancing act”

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Tom Wax’s 50th birthday arrives in September, and to celebrate in style, the DJ and producer is releasing his brand new album ‘Generation 72′. As one of the main characters in the sound of Frankfurt, Tom has worldwide influence as a DJ and producer. His very first musical output was released in 1991, followed by countless other releases on major electronic dance music labels around the world over the past 3 decades. After his first long-player ’45 RPM’ in 2017 and the following album ‘Driven By Passion’ in 2020, he sets new production standards in 2022, and this new one presents the full range of his unique sound.

FOR EXAMPLE caught up Tom Wax to learn more about the fall of ‘Generation 72’his influences, his opinions on the evolution of the scene, his future projects, etc.

EG: Hey Tom! Welcome to EG. It is a pleasure to have you with us today. Where are you based at the moment? How have you been?

Tom Wax: I’m based in a very small town near Frankfurt, Germany, and due to the fact that I tore my Achilles tendon 10 weeks ago, I’m working like crazy on new productions, because it’s the only something I can do right now.

EG: We’re sorry to hear that, Tom, I hope you recover quickly. By the way, congratulations on the release of your LP ‘Generation 72’! What has been the initial reception so far?

Tom Wax: I’m super happy with my new long-player and at the moment I’m preparing the remix releases of some tracks from the album, it will be done by Uto Karem, surly, Ben Champell, aware, Felix Reichelt, Franck DeWulf, and others. It’s always something special when you release a new album with 16 new tracks, and the most special thing is that it will be released exactly on my 50th birthday, September 19th.

EG: So it’s a landmark version for you. How has the passage of time affected your relationship with your music? Are you making the music you “always wanted to make”?

Tom Wax: Yes, I would say that in the last 3 years I am at this level, where I always wanted to exceed the last 30 years of my career. When you’ve been doing electronic music for over 3 decades, like me, it’s a balance between being innovative and pleasing your followers. My goal has always been to find the right balance between these two, and with my new album, I think I’ve finally succeeded.

EG: And what can your fans find on this release, musically speaking? What differences can be found with 2020’s ‘Driven By Passion’?

Tom Wax: I always want to showcase my current DJ sound on my long performers too, because that’s what people expect and that’s what they get on this one too. The sound of my production has improved a lot over the last month and there are also some surprising tracks on the album. All tracks will be released as singles accompanied by a special remix by one of the previously mentioned artists.

“1972 is my birth year, and I’m part of the Techno generation, that’s what I wanted to show on this LP through every song.”

EG: So how did ‘Generation 72’ come about? What was the recording process like for these sessions? Did you already have a general concept before you even started?

Tom Wax: I’ve tried to produce tracks that carry the vibe and energy that I’ve loved ever since I was infected with the electronic music virus. 1972 is my year of birth, and I’m part of the Techno generation, that’s what I wanted to show on this LP through each song. The opener of ‘Generation 72’ says it all and gives you a glimpse of my musical influences in my youth, and the other 15 tracks are the state of my art right now. This was my goal and so I had a plan for what I wanted to produce when I started the production process over a year ago. I’m very happy with the final result and I hope that listeners will understand the spirit and the idea of ​​my music.

EG: Let’s go back a bit to your origins. How did you come to electronic music? Was there a record or live show that pushed you down the rabbit hole?

Tom Wax: It was “The Art of Noise – Near Editing”a track produced by my favorite producer of all time, Trevor’s Horn, in 1984, which introduced me to the magic of electronic music. The entire ‘Idiot’ album in 1985 by the art of noise was revolutionary and was my true inspiration.

EG: Your first album was released in 1991. Would you say that the evolution of the scene has been for the better? Or worse?

Tom Wax: The sound of the productions has gotten better and better, the way of producing music has gotten better and better, but it seems that the producers don’t have their own ideas and just pick up the old melodies and tracks from the last few years in all genres of electronic music. music. There are exceptional artists who have developed something new and defined a new sound, but that has become very rare in the last 10 years.

EG: The last few years have given us all a chance to slow down and reevaluate. What would you like to see more and less of in our scene?

Tom Wax: Less overhyped DJs, no ghostly puppets behind the decks, but rather real artists, who live the spirit of electronic music. But times have changed and it looks like you can just survive the techno buzz by investing big bucks to get on the big festival line-ups. Focus more on the music, not the hype around a person.

“The sound of the productions has gotten better and better, the way of producing music has gotten better and better, but it seems that the producers don’t have their own ideas and just take the old melodies and tracks from the last few years in all genres of electronic music.”

EG: What else can we expect from Tom Wax in the next few months? What new steps are you looking forward to?

Tom Wax: My new album is a milestone next month, but I have a release every 2 weeks from now until the end of the year. An outing with love parade founder Dr. Motte is about to fall on Dolma Records called ‘PLUR’including an Simina Grigoriu remix. I teamed up with Rico Puestelof Cocoon fame, to create two special versions on my Phuture Wax label, a collaboration with Electrofanatic Sisko will also be released soon Codex records. There are also two Austrian DJ mixes Dima Rivawho will come out IAMT and Absinthe soon, and I worked with the singer Drea Perlon for some exceptional tunes and I remixed Marc Warbler, Franck DeWulf, GTO, Kay Barton, surly, ASYS & Kai Tracid & Rico Puestel.

EG: Thanks for your time, Tom! We wish you the best!

Tom Wax: Thank you for! Looking for a real DJ booking agency, so if you know someone, contact me! Don’t forget: it’s our future

Tom Wax’s new album “Generation 72” is now available via Phuture Wax Records. Buy your copy here.

Follow Tom Wax: Soundcloud | Facebook | Instagram | Spotify

The best (and worst) moments of the evening

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The Red carpet is rolled up, the golden statues have been distributed and the speeches have been delivered. The Emmy Awards 2022 wrapped up with both predictable and surprising winners, from repeats like Jason Sudeikis (“Ted Lasso”) and Jean Smart (“Hacks”) to new arrivals like “Squid Game” and “Abbott Elementary School.”

But beyond the results, the 2022 Emmys, hosted by the ‘Saturday Night Live’ star Kenan Thompson, will be remembered for the times, good and bad, that accompanied the winners. And there were some really wonderful moments on Monday night, and some really terrible ones.

From glorious Sheryl Lee Ralph to awkward break dancing “Brady Bunch,” here’s the best, and worst, of The biggest TV night.

Worst Emmy Moment: Remixed TV Theme Songs

Thompson was doing just fine at the top of the night, sporting a top hat and tails and dropping a few burns on fellow TV fans. (I particularly enjoyed “from Netflix and chill to Paramount + and dine alone”).

For some reason, the opening then turned into a very weird dance recital from your nephew’s high school. Well, at least that’s what it looked like when a troupe of dancers offered interpretive and hip-hop dances to electronic remixes of theme songs from “Friends,” “The Brady Bunch,” “Game of Thrones,” and “StrangerThings”. “It was weird, it was boring and it was so unnecessary. When Thompson later came out with more jokes at the expense of Netflix and Showtime, it was just another callback that a simple opening monologue would have been very well.

Kaley Cuoco talks about “love at first sight” with Tom Pelphrey as they make their Emmys red carpet debut

Michael Keaton accepts the award for Outstanding Lead Actor in a Limited or Anthology Series or Movie for his role in

Best Emmy Moment: Speech by Michael Keaton

Batman himself showed up to the Emmys in a sleek gray tuxedo, won the first Emmy of the night for Hulu’s “Dopesick,” and set the bar high for the night’s acceptance speech. After teasing Oprah Winfrey, he told a touching, funny and serious story about his family, thanking them “for never making me feel like an idiot”. He also expressed his appreciation for his mistakes. “I’m glad I was laughed at over and over again.”

Emmys 2022:Amanda Seyfried’s 10 Best Dressed Celebrities in Zendaya

Sheryl Lee Ralph accepts the award for Outstanding Supporting Actress in a Comedy Series for her role on the ABC show

Best Emmy Moment: Sheryl Lee Ralph Brings the House Down

One of the stars of ABC’s sitcom “Abbott Elementary” Ralph won the award for Outstanding Supporting Actress in a Comedy Series and was visibly shocked and shaken by the honor, her first Emmy. She got on stage and opened her mouth and exclaimed song, Dianne Reeves’ 1993 hit, “Endangered Species.” After singing his verses, Ralph reminded anyone with a dream to keep hanging on to someone like “Abbott” creator and star Quinta Brunson. The genuine emotion and power of Ralph’s singing voice and spoken words have provided an unprecedented moment at nearly every recent award show. The Emmys may be a celebration of the best in television, but they don’t often make great television. Rewards clearly needed Sheryl Lee Ralph to fix this.

“This is what belief looks like”:Sheryl Lee Ralph Schools Emmys With Abbott Elementary Win

Jennifer Coolidge accepts the award for Outstanding Supporting Actress in a Limited or Anthology Series or Movie for her role in

Best and Worst Emmy Moment: Jennifer Coolidge’s Speech

The inimitable Jennifer Coolidge won for her universally acclaimed supporting performance in HBO’s “The White Lotus,” and struggled to get her words across when she took the stage. Just when she started giving thanks, the producers tried to play her. Coolidge would not be stopped, shouting over the music that it was “a once-in-a-lifetime opportunity”. The music changed and got louder, unfortunately. But still the performer, Coolidge just started dancing. It probably wasn’t the speech she wanted, but it was certainly memorable.

Emmys 2022:everything you missed

Lizzo and the cast and crew of the Prime Video program

Best Emmy Moment: Lizzo and the “Big Grrrls”

Is she on her way to an EGOT? pop feeling Lizzo won her first Emmy for her Amazon reality competition series “Watch Out For the Big Grrrls,” and her acceptance speech did not disappoint. “When I was little, all I wanted to see was me in the media. Someone fat like me. Someone black like me. Someone beautiful like me,” she said. And the crowd went wild.

In the wings at the 2022 Emmys, Quinta Brunson Says She Might ‘Hit’ Jimmy Kimmel

Most Embarrassing Emmy Moment: ‘Succession’ boss rubs shoulders with the monarchy

When HBO’s media empire drama “Succession” took home the biggest prize of the night (Outstanding Drama Series), a repeat of his 2020 win, creator Jesse Armstrong took the opportunity to shave a few beards in his country. of origin, the United Kingdom. “Big week for estates,” he said, referring to the death of Queen Elizabeth II and the estate of his son, King Charles III. He noted that more people voted for “Succession” in the Democratic Emmys than in the monarchy with Charles. “I’m not saying we are more legitimate in our position than him,” he added. “We’ll leave that to other people.” Series star Brian Cox advised his boss to ‘keep it royalist’.

It was time :Lizzo Celebrates On-Screen Representation in Emmys Acceptance Speech

Kenan Thompson performs a bit with Kumail Nanjiani as

Worst Emmy Moment: Kumail Nanjiani’s Bartender Track

On a night when several winners’ speeches were cut short, it was even more frustrating to see so many unfunny comedy bits and edits squeezed into the long-running show. Unfortunately, Nanjiani’s track with Thompson and Jason Sudeikis as the bad bartender should have been cut. It was only partially redeemed by Thompson’s reunion with her Nickelodeon co-star Kel Mitchell of “Kenan & Kel” fame.

See all Emmy winners:‘Ted Lasso,’ ‘The White Lotus’

Logic Lost, Airliftz, Zoomie announced for Uah Music Festival in Penang

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Penang’s Uah Music Festival has announced its full lineup for its September event, which will take place later this week.

The event will feature a total of 25 acts on four stages. The festival will take place at Hin Bus Depot in Georgetown, Penang on September 16, from 4 p.m. to midnight.

Airliftz and Taiwanese singer-songwriter Zoomie will headline the festival. Experimental producer Logic Lost will also perform, alongside fellow Indonesian electro-jazz Littlefingers. The two artists have already played at the 2022 edition of the ASEAN Music Showcase festival, which took place last weekend at the Haw Par Villa in Singapore.

Other notable additions to the festival lineup include mü-nest electronic artist D & The Compass, as well as Malaysian experimental duo Buddha Beat.

Tickets are RM100 in presale and RM120 at the door, while group purchases for four tickets are RM320. Special prices for children 12 and under will also be offered during the event at RM35. Find them here.

The full Uah Music Festival lineup is as follows:

buddha beat
Air Transport
Zoom
One more time
isaac ho
Anak Borneo
Kamal Sabran
Chris M. Yong
Zero
little fingers
Grated
Dabangni Band
lost logic
SICK
Doua Sekawan
Nick and his friends
Zam Vigil
Ghent
DJ Wei
Aki Huang
KOZZY
Yu
Radical 140
D and the compass
Børhan Bvstamøm

Jean-Michael Jarre releases a new single “Brutalism Take 2” with Martin Gore

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Jean-Michael Jarre unveils “Brutalism Take 2” with Martin Gore

Jean-Michael Jarre released a new version of his recently released single, Brutalism, under the title Brutalism Take 2 while working with Depeche Mode songwriter and musician Martin Gore. While the original single will be featured on Jarre’s upcoming album, Oxymoronthis remix is ​​part of his ongoing plans to re-imagine his own music and work alongside various collaborators.

Jean-Michael Jarre seeks to enrich the rollout of his album, as well as discover new creative avenues with this current journey by creating alternative versions and remixes of the singles for Oxymoron. He further explains his intentions and plans for the process saying:

“On Oxymore, I wanted to do a few collaborations for each single with young and established artists. Hopefully there will be some fun surprises in the mix for you. The collaborations will not be on the album and for now only available for streaming and download. For the deployment, I am delighted to announce Martin Gore. From great haunting melodies to extreme experimentation Martin Gore is one of the most eclectic composers of electronic music. His unique touch in ‘BRUTALISM TAKE 2’ shows it. It was a real pleasure and an honor to collaborate with you Martin!”

For Jarre, he clearly has big plans for his next album and the whole promotional cycle and its release. Composed as a tribute to the late French producer Pierre Henry, Jarre used material from Henry’s wife that was intended for prior collaboration between the producers for use on the new album. The music will be further enriched as it will exist as an immersive work in a binaural multi-channel and 3D format that will be made available to fans for an enhanced experience of the product.

“It’s a real breakthrough moment for audio and sound recording. Oxymore is an attempt to illustrate and explore these new ways of linking technology and music. Today we have technologies that allow us to explore composition in spatial audio and open up a whole new experience for us musicians in the creative process. For the listener too, it offers the experience of a more physical and natural way of listening to sound and music. In real life, our audio field is 360 degrees. Oxymore was composed specifically with the spatial audio experience at heart, I even feel like the stereo mix itself is even wider, and gained more space in the process. I am convinced that this is how music will be composed and produced in the future. The emotion also for the listener is a huge leap to the next level, like when we went from mono to stereo.

Check Brutalism Take 2 now and get ready for the release of Oxymoron September 21.

Image credit: Louis Adrien Le Blay / Provided by Falcon Publicity

How I introduce Afro EDM, Afro Progressive into the music industry —DJ Karlifornia

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It’s been another winning time for Nigerian-born, Atlanta-based disc jockey Chinenye Carl Okafor, also known as DJ Karlifornia, as his newly introduced genres of music called Afro EDM and Afro Progressive gradually progress into awareness of many musics. lovers all over the world.

With several attempts to push his craft and break into the music scene, who attended pampers private school, DJ Karlifornia started his career in various popular celebrity clubs in Calabar, Nigeria and continued his career in the Lagos State where he worked with Metro 97.7. FM (Radio Nigeria).

Now considered one of the most important and highly rated disc jockeys in the United States, the award-winning artist says his ability to mix Afrobeat, EDM and Trap Music earned him the name The Remix God in Atlanta. , in Mexico and beyond. .

Talking about how his career has evolved over the years, Dj Kalifornia said he took a leap of faith and moved to Los Angeles, California where he managed to maintain a permanent appearance at the switchboard and bars from the library.

According to him, he has now become a force to be reckoned with at top clubs in Atlanta such as Vice Lounge, Evangadi, Josephine, Eleven 45, Living Room Lounge, Blu Lagoon, adding that being a radio host for Be100RadioAfrica, also greatly contributed. to its rapid rise.

After acquiring a bachelor’s degree in mathematics and computer science from the University of Calabar, he also earned an associate bachelor’s degree from Georgia State University in computer auditing and cybersecurity, he added that he has carved out a place in the entertainment business with his gifted fingers. the bridge.

“I’m happy to now be seen as the curator of a new genre called ‘Afro EDM’ and ‘Afro Progressive’, which actually isn’t popular, but is quickly becoming popular among music enthusiasts and the best musical artists. I will continue to work hard to show the world that I have what it takes to be the king of the next generation world class deejays.

READ ALSO FROM NIGERIAN TRIBUNE

INTERVIEW: Why Hit Songs Don’t Automatically Translate To Money For Nigerian Musicians – Producer, Deratheboy

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At 23, Odera Ezeani Godfrey, also known as Dera (Deratheboy) has achieved a feat that some of his peers dream of; a grammys award-winning Nigerian producer.

Deratheboy co-produced two tracks on Burna Boy’s Grammy-winning album, “Twice as Tall”, released in 2020.

He has produced music for such acclaimed artists as Marcus Mumford, Sauti Sol, Joeboy, Oxlade and Major Lazer, the American electronic dance music DJ trio.

Major Lazer earned a Grammy nomination for Best Dance/Electronic Album for the Reloaded version of their 2020 LP “Music Is The Weapon.”

In this interview with PREMIUM TIMES, he talks about his humble beginnings, his craft and the intricacies of the Nigerian music industry.

PT: How long have you been producing music?

Dera: I’ve been making music and producing professionally since 2019. Before that, I was producing, but I wouldn’t say professionally.

I used to take it as a hobby, but now it’s still a hobby because I love what I do. After all, the music goes further than expected.

Now I try to make sure music inspires people, so I make music for myself and for the world.

PT: How and why did you start producing? What inspired you?

Dera: Initially, I wanted to be an artist initially, but I didn’t see myself going far with that.

I also didn’t see myself going far with the production, but I felt more connected to making music, producing music and being behind the scenes.

PT: What makes a song suitable for you?

Dera: The vibe, the subgenres, the drums, especially now that Afrobeats is now diverse. People do random sorts of them. There are subgenres within the tracks, there is Afropop, Afrohighlife, AfroJazz and so on. What sets the music apart is just the mood.

Odera Ezeani Godfrey (Dera)
Odera Ezeani Godfrey (Dera)

PT: Budding growers may wonder what they need to get started. What was the first set of hardware/software you purchased?

Dera: The first thing I received, related to music, came from my mother. She bought me a mic, but it wasn’t the mic I wanted. I wanted a good recording mic, and she couldn’t find the right one for me.

I couldn’t do anything with it, but I kept it because it was of no use to me. But I enjoyed that. It just showed me that she was willing to allow me to take music seriously.

The first thing I bought for myself would be a sound card. It’s from someone who bought it from someone, who bought it from someone. It was so old. This is the sound card here, and this sound card has been with me for about eight years now.

PT: What are the main lessons you learned that other budding musicians and producers could learn from?

Dera: One thing I’ve learned is to take your vibe and carry on with your vibe because you’ll never know if you’re creating something new, and you’ll never know if you’re doing something that someone never did. heard before.

So I think one piece of advice I would give is to keep going with your vibe and keep believing in your unique production.


PT: Who are your favorite artists to work with here in Nigeria, and who are your favorite artists to work with internationally?

Dera: I would say Joeboy, because when it comes to making music, we’re fantastic. It’s easy to get a vibe with him to create music. So I would say Joeboy, I would say Rema. Rema is also easy to use. He’s cool. Arya Starr too.

Then, internationally, I would say Diplo; Diplo is dope; he is a very open-minded person; he is very accepting of Afrobeats; he puts his touch on it when we work when we collaborate, and there are a few other people.

PT: What was the first song you produced?

Dera: Funny enough, people think it’s Joeboy’ Baby’, but it wasn’t Joeboy’s. It was Falz, and there was a song I did for Falz on Morale Instruction. I did this with a solo produced TMX. ‘Johnny’ Did it with another TMX producer, but didn’t explode. “Baby” by Joeboy was my first solo produced song.

PT: Which artists are you looking forward to working with?

Dera: I look forward to working with Drake. It’s funny that I say that now. Four years ago it would have seemed impossible if I had said that. I’m pretty sure it’s possible to work with him right now.

I look forward to working with him as I know I will be working with him soon.

PT: How did you feel when you learned that you had won a Grammy on different songs?

Dera: I felt good at the time for a producer, especially at my age. Getting such recognition and achievement boosts my self-esteem for music, and it gives me an extra vibe and energy to keep pushing.

PT: You said, especially at your age, would you mind telling us how old you are?

Dera: I’m 22, well, I’m 23. My birthday is in September, which means next month.

PT: What does it take to make a hit in Nigeria today?

Dera: To be honest, quite funny, right now anything can blow. Anything can blow; even the craziest songs can explode.

This is another reason I say nothing sucks; pay attention to what I just said? Right now, something may not look good to me, but it may look good to everyone in Nigeria; that’s how expensive it is.

Right now, music is unlimited.

In Nigeria, a hip hop song last year, if I’m not mistaken, a year or two ago, music that Superboy, Check, made – ‘zoom’. It was the number one song for almost six months. Everything that is right now “can blow” in Nigeria.


PT: Does having a hit song automatically translate into money for an artist?

Dera: No oh, for where? Zero, no. I think having a good song can open doors for you. What gives you that money is what you do when you walk through those doors. When you walk through those doors, what you do next is what separates you (an artist) from the rest.

PT: Have you ever produced an unexpected hit?

Dera: Yeah. It’s from Joeboy, Oxlade – there was a song I did for him on his Oxygene EP, ‘Hold on’. It was a massive song after a week. It was the second most trending song.

PT: Nigerian producers share similar beats because the songs sound alike. How can your listeners tell the difference between your productions and other producers?

Dera: For some strange reason, I don’t even know, and I don’t care. Suppose I decide to make the same sound for the rest of my life. Anyone would like to do different things; I could use a beat sample – Blaze Beats; he is an amazing producer.

When I hear flame beats, I’ll know it’s his beats; it has rhythm in its beats, its melodies are beautiful and its parts are constantly changing. His drums sound the same, but his songs are giveaways, making his music unique.

Also, people have their signatures and labels. I have mine, but I don’t use it much anymore.

Generally, so far, what I’ve done with late and unreleased songs is very different from what I usually explore.

PT: Speaking of what you’ve done, should we expect anything this year?

Dera: Yeah, some songs coming out, some things I unfortunately can’t talk about, some things I’d like to say, but you know what it is.

PT: Which international producer have you worked with?

Dera: I worked with Sauti Sol. They are also producers, also Wonder Girl.

PT: And the artists?

Dera: Justin Bieber, Major Lazer, Bad Bunny, Marcus Mumford, Cold train, Miraa may, Majid Jordan and Jbalvin.

PT: How did it go with Burna Boy?

Dera: It was just okay. I’m not going to lie and say we were so close. Someone just took me to his house, I played him some random beats, and he picked one. He recorded half of it with me. We couldn’t finish it that day, so he said, you know what – he would finish the recording and send it to me the next day. It was “Real Life” with Stormzy.


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Taylor Swift wants to make an unexpected entertainment industry pivot

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Taylor Swift recently directed a project called “All Too Well: The Short Film”, which screened at the 2022 Toronto International Film Festival. This is her first outing as a non-music video director, but at her eyes, she’s more than ready to make the leap to feature films. “If it was the right thing, it would be such a privilege and such an honor,” she said during an appearance on In Conversation With…, admitting she hasn’t dated the film school, but she understands what it takes to make a movie come to life from the director’s chair. “When I did it myself, I really started learning everything because I had to,” Swift added.

So what kinds of movies can we expect Taylor Swift to direct down the line? Well, she’s made it clear that she’s not trying to break into the Marvel Cinematic Universe or similar action-packed breakout endeavors. “I will always want to tell human stories about human emotion,” Swift revealed, citing acclaimed female directors such as Nora Ephron, Chloe Zhao and Greta Gerwig as some of her biggest influences. “It’s really beautiful that we’re in a place where the idea of ​​a filmmaker doesn’t make you roll your eyes or think with as much skepticism as before,” she explained (via The Hollywood Reporter) .

If Taylor Swift has proven anything, it’s that she’s a multifaceted talent. If and when she tries to get into feature filmmaking, don’t be surprised when she knocks it out of the park.

Black Coffee reinvents Letta Mbulu’s classic “There’s Music in the Air”

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South African legend Black Coffee has teamed up with fellow musical talent SA Ami Faku on new single ‘There’s Music in the Air’, out now on Gallo.

The last gallo Remixed release, a project that has garnered interest from the global music-making community following a series of recent reimaginings of its distinguished catalog, ‘There is music in the air‘ is an infectious modern remake of the 1976 classic by Letta Mbulu. One of the most important releases of its time, the song symbolizes a time of struggle for freedom in apartheid South Africa.

The new overhaul of Black coffee marks a milestone for South African music and its growing influence around the world. “This remix is ​​the one that is close to my heart because it represents so much the struggle, the perseverance and the courage that my country has always shown.

We’ve taken our roots and splashed a modern twist – I’m thrilled to have this released for ears around the world,” Black coffee said. He follows the German dance music visionary Henrik Schwarzis the remix of Ladysmith Black Mambazo Track ‘Ayikh’ Indaw’ Enjengekhaya‘.

Establishing himself as one of the biggest stars of the global electronic music scene, Black coffeeHis diverse production style has earned him recognition across the globe. His penchant for production and vast musical knowledge launched the South African DJ scene and brought his cultural perspective to clubs and festivals around the world.

After releasing his multi-award winning debut album pieces of mehis profile continued to grow as he found himself collaborating with the likes of Drake, Alicia Keys and David Guettalater dropping Grammy-winning album Unconsciously Last year. More recently, he produced Duckthe scrapbook of Honestly it doesn’t matter.

A breathtaking modern interpretation, ‘There is music in the air‘ is another landmark release from the era of Gallo remixed.

Listen to the track below.

North Coast Music Festival 2022 review: I’m an EDM kid now

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Over the Labor Day weekend, I had the unique opportunity to attend the 12e anniversary of the North Shore Music Festival. This being my first festival since the Warped Tour in 2007, I wasn’t sure what to expect, but I knew there would be a LOT of fun with over 100 artists on 4 different stages in 3 days. I couldn’t have asked for better weather this weekend; it never got hotter than 80-85 degrees with an almost constant cooling breeze, ensuring we could all focus on having a good time instead of finding the nearest shady spot (or maybe being that it’s just me, I’m fading in the sun!).

I was worried about having a hydrated festival adventure, as ravers notoriously need a serious water replenishment after even one set, let alone 10 hours of non-stop EDM. Luckily, NCMF thought ahead by including water stations at a few spots on the festival grounds where people could refill their water bottles or drink directly from the fountain – all of which were filtered!

I knew there would be interactive art installations all over the festival site, but the details of the rainbow acorn walk and the giant tree man really blew my mind. These, among other art installations, served as the perfect backdrop for Instagram photos and a place where festival-goers could take time to scramble on the rail.

The North Coast Music Festival has changed a lot over the years and has steadily become more EDM focused – this year was no different and featured headliners like Illenium, Porter Robinson and Armin Van Buuren, and even Diplo.

Music was at the center of the festival, but the outfits worn by festival goers and costumers played a big part in the super fun weekend. Not only was there a giant robot on stilts and an alien girl/cat hybrid, but also tons of traditional rave outfits, including a ton of “candy” (rave jewelry made from plastic beads).

The staging of disguised people was increased tenfold by each of the 4 stage productions. The Vega, Canopy, and Stadium stages all had massive LED walls displaying each artist’s unique visual selection in correlation with their decor, not to mention fog machines and lasers. If the combination of lasers and bass music that your body can’t stop moving to doesn’t make you want to stomp, then pyrotechnics will. The fireworks and pyrotechnics across Seat Geek Stadium, the Vega Stage and the Fire Pit were not only stunning, but a welcome burst of heat towards the end of Sunday when things really started to cool down outside. outside.

Perhaps one of my favorite parts of the whole festival was the Chill Dome. The Chill Dome covers a full field of air-conditioned laser-filled space paired with a different DJ every hour. There were pillows strewn about, providing some much-needed comfy downtime between everyone’s favorite DJ sets under the sun.

The Canopy Stage also offered some respite from the sun, its vine-adorned shade structure extending across a grass-green dance floor. The coolest house music I’ve ever heard kept a steady stream of people coming to sway and vibe. With DJ styles from Eli & Fur, Hotto, Kaytranada, TSHA and Diplo, it’s no wonder the canopy is almost always full.

One of the most memorable performances, and the one that’s close to my heart now was Channel Tres, aka. Sheldon Young of Compton, CA. Channel’s EDM beats and rap diverted me from the path I was on in search of the best nachos a festival had to offer. I was not disappointed to witness an exquisite and choreographed dance performance by Channel Tres and her backup dancers. Her outfit alone would have solidified this as my favorite performance of the festival.

Another favorite was TSHA. Teisha Matthews graced the Canopy Stage on Sunday, bringing us a distinct and exciting sound from London, UK. The TSHA ensemble was a breath of fresh air and with such a fresh face to match. His smile and his boogie on stage were contagious!

Slander’s set at the Stadium was the most fiery and electric set of the weekend. The American DJ duo (Scott Land and Derek Anderson) hail from Los Angeles, California. Their signature trap-trance style that pioneered the genre gave us absolutely no break, only dancing.

Baynk had such a cold stage presence; I almost forgot I was at an EDM festival, because as I walked up to the stage (a few minutes into his set) I saw the sweet New Zealand vision wielding a saxophone. Baynk sounds like the kind of person who would ask questions about your day and be genuinely interested in the answer, and his catchy, vibrant music conveyed that to me before I even saw his face.

Porter Robinson’s set on Sunday night was uplifting and inspiring. I loved the piano on stage that he played live; his set also included live vocals that he edited to create a unique experience, especially when they didn’t turn him off at the start of his banter with the audience. I’m sure not many people noticed, but I did, and it was great. Behind him, on the LED wall, were phrases like “I can do something good”, “I cherished the flowers”, and “I’m still here”. These visuals gave me a glimpse of what he overcame, which I think everyone can relate to.

The festival welcomed DJs from all over the world, but I believe that Hugo Pierre Leclercq, better known as Madeon, was perhaps the only French artist and producer to join us in Chicago. Madeon’s set started with minimalist visuals that drew in the audience as he appeared on stage as a figure against the LED wall behind him, flashing patterns, colors and animation that all synced perfectly. with the feeling of his songs. About 7 minutes into the set, Madeon dramatically left her silhouetted podium to stand and greet the audience with a raised hand met with the crescendo of electronic music and a spotlight. The marching figures that passed the LED wall later brought a sense of militaristic doom.

Trevor Christensen is a music producer from Colorado who goes by the name of professional artist Said The Sky. Said The Sky’s performance at the Stadium on Saturday was the kind of set that makes you happy to be alive. The dreamy visuals paired with waves of uplifting music got her audience emotive and ready to dance.

Jai Wolf, a Bangladeshi-American producer living in New York, gave an exceptional set to his many fans at the Stadium on Sunday evening. His production was simpler, but it fitted perfectly with his characteristic melodic style (reminiscent of Chvrches). His indie-dance anthems hit even harder than they do when you’re driving a little too fast in your car in the middle of Indian Summer (not to mention experience or whatever).

The Vega scene has hosted a slew of dubstep artists including Jeff Montalvo, known to most as the Seven Lions. His mix of genres includes electro house, glitch hop, drums and bass and dubstep which, when seen live, are intense, some would say life changing. The visual aspect of her performance was mysterious and confident.

Must Die!, aka Lee Austin Bates, is a dubstep artist who is best known for his track “VIP’s”, a collaboration with the iconic Skrillex. It was one of the most memorable performances overall, mainly because he started the set by shouting “Who’s ready to S**K some D**K?!”. That’s when a security guard looked at me and said, “Man… It’s only 4 p.m. How weirder is today going to be? »

“Svdden Death Presents: Voyd” was the title of the final Vega stage performance on Sunday night. I got ready like I always do, walking to the security gate a few minutes before the set started hanging out with my favorite security guards. Unfortunately, I was escorted out of the photo booth by one of the DJ’s security guards as Svdden Death’s alias Voyd does not allow the press to cover the set. I chose to watch from the audience and was not disappointed (although my camera was). Voyd is a truly terrifying alien creature with antlers that gave away the weekend’s malevolent set, hands down. There was fire, lasers, kicks, and necks were most definitely snapped (headbanging lingo, I’m an EDM kid now).


This review of the latest North Coast Music Festival was written by Shaela Johnston. You can see more of his work here.

Electric Zoo’s Top 5 Performances From 2022

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New York’s premier electronic music festival, Electric Zoo, just wrapped up on Labor Day weekend. The 3-day zoo-themed festival went off without a hitch. Electric Zoo knocked it out of the park this year with the talent lineup they chose to book. There was a plethora of incredibly talented artists performing at the Electric Zoo and its respective parties this year. Notably Of The Trees, Diesel, Subtronics, Gordo and CloZee stole the show.

Trees The stage performance hosted by Brownies and Lemonade on the first day of Electric Zoo really set the event up for the kind of top notch talent that Made Event was bringing to the zoo. I had never attended an Of The Trees performance before, but I can be sure it won’t be the last. The Denver-based entertainer most certainly managed to mix and flow the energy of the crowd. His mix was on point and more so his song selection was on point. Everything about his set felt like you had just entered a mysterious rainforest with time periods in blissful oases and time periods in cryptic caverns. The performance of Of The Trees focused heavily on evenly molding moments of heavy bass into moments of serene ambient sound.

Those who had never heard of Diesel had a surprise on Saturday. None other than Shaquille O’Neil performed on Saturday at Electric Zoo’s Bite This! organized scene. I didn’t expect the crowd and Diesel to be as energetic as they were that night. Diesel had been churning out banger after banger, including hip hop and rock songs mixed with dubstep edits. The entire front rail from front to back was loaded with headbangers. During Diesel’s performance, he repeatedly shouted into the microphone “Where’s my mosh pit?” and “ladies only” to give an idea of ​​his mood during the night. The energy was electric and watching the world’s (literally) greatest DJ perform was a sight to behold.

Sunday I could see Subtronics play right at sunset on Electric Zoo’s main stage called Antheon. It was an interesting sight to watch Subtronics unleash a barrage of dubstep edits and recordings on the main stage audience. In years past you would see electronic pop veterans take over the main stage, it was nice to see Electric Zoo bring a change of pace from that and lean more heavily into newer talent such as Subtronics. By far, Subtronics has some of the most incredibly appealing visuals. He closed his set with a friendly public service announcement to all ravers to be friendly, smoke weed and stay hydrated.

Just before Subtronics hit the main stage, there was the new house band Gorde formerly known as Carnage. I had seen Carnage perform several times before and always enjoyed his energy. It’s literally off the wall. Gordo’s energy was refreshing from his previous project. The amount of latin house bangers and high energy techno records he had included in his set made for a nice break from the slew of bass acts I had seen on Sunday. As always, Gordo brought his awe-inspiring stage presence by repeatedly jumping off the DJ decks.

I ended the festival on the third and last day watching the bass queen CloZee close his own stage hosted by Odyzey. The stage featured the amazing talents Mersiv, Inzo, Wreckno, Tripp St, Rome In Silver, sumthin sumthin, NotLö, Redrum, Canvas and more. I had never seen CloZee perform before and was not disappointed at all. The fluidity of the mix, song selection, and visuals were so in conjunction with each other artistically that the whole thing felt like a cohesive journey. CloZee’s visuals were one of the most beautiful LED displays I have ever seen. They are fast, psychedelic and unique in themselves.

Plus all the amazing acts that happened over Labor Day weekend at the festival. Electric Zoo after parties held at various event spaces in New York City, including the Brooklyn Mirage, Kings Hall, Marquee, Webster Hall and Lavo, have all featured intimate experiences from some of electronic music’s most creative budding talent. . A highlight after the party I attended was the last day of the weekend. Watching all in all all in all play b2b with Rome in silver at CloZee’s afterparty at Kings Hall, the two dressed in white bathrobes with sunglasses stole the night away for the most intriguing afterparty.

Image Credit via: ALIVE coverage for the Electric Zoo Festival

GRiZ Releases First Upcoming Single “Chasing The Golden Hour, Pt. 4” – EDM.com

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GRiZ has released the first single from their upcoming In pursuit of the golden hour, pt. 4 ribbon.

The multi-instrumentalist and electronic music superstar released “Your Light” today, which comes two years after the release of In pursuit of the golden hour, pt. 3. While this year has seen a number of dubstep and house music records, including recent collaborations with LSDREAM (“Funkonaut”), The Sponges’ (“Volume”) and TVBOO (“Bass Music”), this time Here, GRiZ displays a more downtempo, melodic sound.

Harnessing GRiZ’s funk roots and minimalist sensibilities, “Your Light” floats with airy guitar riffs, hazy vocal accents and bright synths. Of course, the track wouldn’t be complete without a classic heady saxophone solo from GRiZ himself.

“I wanted to recreate the carefree good vibes you get when it’s sunset on a perfect summer evening and everything is the prettiest shimmering shade of gold,” GRiZ said in a statement. Press.In pursuit of the golden hour It’s that magic moment, it’s the cool breeze against your back, it’s the sweet summertime swagger in the form of music.

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Listen to “Your Light” below.

Follow GRIZ:

Facebook: facebook.com/mynomestGRiZ
Twitter: twitter.com/Griz
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Spotify: spoti.fi/3hEXfjz

ARC music festival draws thousands of house and techno fans to Union Park

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WEST LOOP — Thousands of house and techno music fans gathered in Union Park over Labor Day weekend for the second ARC Music Festival in the West Loop.

The three-day music festival featured four stages with over 40 performers from around the world.

Local DJs included DJ Lady D, Ron Carroll, Gene Farris, Hiroko Yamamura and Mike Dunn. International names included Carl Cox, Adam Beyer, Honey Dijon, Chris Lake and Fatboy Slim.

Pictures from the weekend:

Credit: Melody Mercado, Block Club Chicago
Fans enjoy a falling confetti during DJ Claptone’s performance at the ARC Music Festival on September 4, 2022.
Credit: Melody Mercado, Block Club Chicago
Fire erupts from The Grid stage on the opening night of the 2022 ARC Music Festival.
Credit: Melody Mercado, Block Club Chicago
Festival-goers listening to DJ Boris Brejcha close the first day of the ARC Music Festival on The Grid stage on September 2, 2022.
Credit: Melody Mercado, Block Club Chicago
DJ Tennis performs on the Expansions Stage on the final day of the Arc Music Festival at Union Park on September 4, 2021.
Credit: Melody Mercado, Block Club Chicago
A festival-goer fans herself as she listens to Justin Martin perform at the 2022 ARC Music Festival.
Credit: Melody Mercado, Block Club Chicago
Many festival-goers showcased their daytime brewing moves near The Grid stage at the 2022 ARC Music Festival.
Credit: Melody Mercado, Block Club Chicago
Dj Adam Beyer closes the last evening on The Grid stage of the 2022 ARC Music Festival.
Credit: Melody Mercado, Block Club Chicago
DJ Boris Brejcha closes the first day of the 2022 ARC Music Festival at Union Park on September 2, 2022.
Credit: Melody Mercado, Block Club Chicago
DJ Chris Lake closing day one of the 2022 ARC Music Festival on September 2, 2022.
Credit: Melody Mercado, Block Club Chicago
Festival-goers form a circle as others showcase their brewing skills at the 2022 ARC Music Festival.
Credit: Melody Mercado, Block Club Chicago
The audience dances under a technicolor tent on the elrow stage at the 2022 ARC Music Festival.
Credit: Melody Mercado, Block Club Chicago
A fan waves the Brazilian flag at DJ Claptone on September 4, 2022.
Credit: Melody Mercado, Block Club Chicago
Members of the public wave to extravagant fans in the air during the 2022 ARC music festival.
Credit: Melody Mercado, Block Club Chicago
DJ Tennis performs on the Expansions Stage on the final day of the Arc Music Festival at Union Park on September 4, 2021.
Credit: Melody Mercado, Block Club Chicago
Audience members watch German DJ Boris Brejcha perform on the first night of the 2022 ARC music festival.
Credit: Melody Mercado, Block Club Chicago
Audience members enjoy DJ Fatboy Slim on the Elrow stage at the 2022 ARC music festival dedicated to house and techno music.

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INTERVIEW: Donald Jenkins | NARC. | Reliably informed

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Image: Bish Pictures

Words have power in all mediums. put onald Jenkins previously explored this through spoken word, but is now branching out into rap and hip-hop. This new journey comes in the form of an upcoming EP, titled Late Bloomer, in which he discusses age, the culture of his gender, and the politics of our future.

There’s an ongoing discussion in hip-hop about whether or not it’s an “old” person’s game, whether it’s okay to have a 30- or 40-year-old rapper. Donald commented discussing his own journey in music. “It’s rare for someone my age [44] to start rapping… So [describing myself as a Late Bloomer] it’s just me anticipating that. But hopefully I come with a life experience and have something to say as a result of it.

Donald explains why he broaches the subject of our future on his EP. “I am concerned about how we are raising generations of people who seem totally disengaged from the political process. We are divided into different groups and argue over identity politics, but find very little common ground to unite us… No one can agree on what is real. I think we need to be more politically aware, but at the same time it concerns me too. I have to admit, that’s pretty decent and fair for me to chat and move on.

I am concerned about how we are raising generations of people who seem totally disengaged from the political process

As an artist who creates music in the hip-hkind of op, Donald continues to explain why he does not consider himself part of the hip-hop vsculture. “People have to be aware, if they want to be part of hip-hop culture, they also have to have a sense of the roots, recognize its root as Black of musical form that people like me are in a privileged position to be a part of.

Donald’s music not only carries the regular, smooth rhythm typical of hip-hop, but also electronic sound elements reminiscent of retro gaming, creating a mixed genre of electric rap. One thing that isn’t lost throughout the rhythm of his lyrics is his Geordie accent, which adds local familiarity to the worries he lyrically shares.

Some may already know Donald as the initiator of Born Lippy spoken word night. He talks about the transition to rap: “I love words! I got into spoken word about 15 years ago and discovered something other than hip-hop. I’ve always listened to hip-hop and when I started doing spoken word, I could see myself trying to rap, but not very well and not very well! It was mostly about adapting and changing something to reach a new audience that might not be interested in my poetry.

It was a learning curve, because it’s different, there’s a lot of different skills involved. Spoken word consists of long pauses and pauses, whereas rapping is much faster when trying to adjust to rhythmic structures. It’s been a great exploration of expanding my own abilities as someone who likes to manipulate words, looking at how that can be expanded.

Donald Jenkins releases his debut EP, Late Bloomer, at Zerox in Newcastle on Friday the 9the September with the support of Kema Kay, HB, Tom 23 and DJs Pegz and Riddla.

Pleasures Playhouse is the new music and arts festival in an abandoned cinema in Chinatown

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A six-week music and arts festival with an absolutely stacked lineup takes over an abandoned Chinatown cinema in September and October. Taking place between Thursday 22 September and Monday 31 October, Pleasures Playhouse was brought together by influential Sydney host Kat Dopper of Heaps Gay and Summer Camp.

Dopper has curated a vibrant, varied and inclusive program of concerts, parties, film screenings and yum cha that will reactivate Harbor City Cinema. Originally a space for showcasing Chinese films, the long-running cinema will find new life throughout the festival after sitting empty for 15 years.

“This is one of the most exciting projects I have ever worked on, literally a dream. Collaborating with all my favorites to take over unused space in Sydney to bring together some of the best from our art scene to create a new cultural destination that promotes artistic excellence,” said Dopper.

So what can you see in this 35 day lineup? If you’re looking for live music, the program has a lot to offer. Sydney’s new hip-hop supergroup BBGB Worldwide featuring B Wise, Kwame, Manu Crooks, BLESSED and Lil Spacely will perform, and Haiku Hands and Chela will take the stage on the Ur-Asian Haven program alongside Marcus Whale and Anso.

Hiatus Kaiyote’s Nai Palm will also appear with Billy David for an intimate show, and Donny Benet will host a sultry synth-pop evening with a special guest band.

B Wise

If you’re looking to hit the dance floor, there’s a range of parties that pop up on the schedule. From underground electronic music to great pop vocals, dance music collectives and record labels including Heaps Gay, Nina Las Vegas’ NLV, BYPASS, Athletica, AM//PM Emo Night, Monster Children, Leak Your Own Noods and Show Us Ya Tips will all host parties with some of the best DJs in Sydney and Australia.

Other exciting additions to the festival include weekly arthouse films from Send Noods cinema accompanied by wines and noodles from P&V by Biang Biang; yum cha pop-ups, record parties and yet-to-be-announced events hosted by Maurice Terzini (Icebergs, Ciccia Bella, RE-) and Julian Hamilton of The Preset.

Dopper and co are collaborating with local Haymarket restaurants for the space’s food offerings, while Mike Bennie of P&V and Archie Rose Distilling Co of Rosebery are leading the charge behind the bar.

You can discover the complete program on the festival website. A range of events are free and no event charges more than $30 for entry.

Anna Hay

Pleasures Playhouse takes over Harbor City Cinema, Haymarket from Thursday 22 September to Monday 31 October.

Top Image: Anna Hay

ADE announces a second wave of artists for the 2022 edition

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Photo credit: ADE


Amsterdam Dance Event (ADE) is fast approaching, and there are even more artists ready to join the party in October this year.


One of the most important weeks for the electronic music scene, Amsterdam Dance Event (ADE), is back and looking better than ever this year. There are only a few weeks left before everything kicks off in the Netherlands on October 19-23, and the excitement continues to build with the announcement of awe-inspiring showcases and more in store for attendees. ADE dropped its own jaw-dropping artist lineup earlier this summer, and now they’ve delivered the second wave.

While the first wave included Maceo Plex, Afrojack, and Oliver Heldens, as well as showcases from brands like Anjunadeep and Hospitality, the second wave is also brimming with talent. Immediate headings among names include everyone from Carl Cox and Eric Pridz at Honey Dijon and Peggy Gou. Armin van Buuren will also be present at the ADE this year, as well as others like San Holo, Charlotte de Witte, Brennan’s Heartand more.

Although the festival side of the ADE is really an attraction, the programming of the conference is just as captivating. From one-on-one conversations with big-name artists and their teams to discussions about the future of music and AI, there’s a plethora of information that will be shared with the public. Whether you’re a budding artist, manager, or A&R, if you want to take your career to the next level, there’s no doubt you should attend these panels.

Check announced programming for ADE this year, and be sure to pick up your ADE Pro Pass via their website if you plan to attend. ADE Pro pass holders will have access to all conference keynotes and panels, as well as the official festival program and Arts & Culture program.


Follow Amsterdam Dance Event (ADE) on social media:

Website | Facebook | Twitter | instagram | LinkedIn | Youtube

Grant Gilmore’s authoritative voice as a media professional lends uncommon credibility to EDM journalism. As founder of EDM Identity, he has raised the bar for coverage of the biggest youth cultural phenomenon of the past decade. After ten years of working for the non-profit organization Pro Player Foundation, Gilmore launched EDM Identity as a medium providing accurate informational coverage of the rave scene and electronic music as a whole. Although they cover a comprehensive topic, they took special care to interview Armin van Buuren, Adventure Club, Gorgon City, Lane 8 and Afrojack. In addition to household names, they have also highlighted some unsung industry heroes through their ID Spotlight segment. Whether he covers it or not, you can expect to find Grant Gilmore at the next big electronic music event. To find out more about his itinerary, follow him via the social links below.

Advice from the Better Business Bureau: Beware of debt consolidation offers

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With the impact of COVID-19 on daily life greatly reduced, student borrowers whose repayments have been suspended due to the pandemic may be considering their options for resuming payments on this life-changing debt.

This may lead some borrowers to look into debt consolidation, but it’s important to research these options carefully and not give in to the temptation to look for a quick fix that could turn out to be a scam.

After a recent action by the Biden administration, federal student loan repayments remain suspended without interest until Dec. 31. receive up to $20,000 in pardons. Consumers should beware of scammers who take advantage of the news by offering bogus ways to apply for loan forgiveness.

Better Business Bureau Scam Tracker received over 500 reports of debt relief and credit repair scams in North America in 2021. These scams cost consumers a reported total of over $283,000, the median consumer losing $600. Most often, these reported scams involved payment by bank account debit.

Upfront fees, including fees to enter a repayment plan, are a common thread among debt relief scams. These upfront charges are illegal. Loan repayment assistance – including loan deferrals, forbearance, repayment, and forgiveness or release programs – is available directly from the Department of Education and Loan Services, and application for these programs is always free.

Some scam companies ask consumers to sign a power of attorney for financial decisions, use it to suspend the consumer’s loans – a way to temporarily stop or reduce payments, during which the loans continue to earn interest – and require the consumer to make payments directly to them rather than to the loan officer. In reality, the company keeps the payments for itself and the forbearance eventually expires without any repayment progress.

Borrowers seeking student loan relief should consider the following tips:

• Do your research on the company and the options available to you. BBB business profiles on debt consolidation and other businesses are available at BBB.org or by calling 888-996-3887. These include customer complaints and how they were handled, customer reviews, and an A+ to F grade.

• Do not pay upfront fees to debt repayment companies. If a rescue company asks for money before helping you, report it to BBB.

• Think twice before signing a power of attorney or giving a company your bank account information or your federal student aid website login information. These actions allow a company to make potentially devastating financial decisions for you.

• Don’t agree to a long-term abstention or adjournment plan without doing your homework. These should only be seen as temporary solutions.

• Don’t be fooled by promises of quick relief. The loan relief and forgiveness options available through the Department of Education still require years of payments, and these loans cannot be canceled by bankruptcy.

The Made in America festival opens; Tyler the Creator, title of Bad Bunny

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Made in America returned to Philadelphia on Saturday, with the Jay-Z-hosted festival bringing 35,000 hip-hop fans to Ben Franklin Parkway for the first of two days of rappers and R&B stars who have spoken out in what’s become an end of summer rite of passage.

Tyler, the Creator, the Los Angeles rapper-producer who played the festival’s very first release in 2012, when he was the enfant terrible frontman of the controversial (and wildly talented) collective Odd Future, closed the premiere. festival day 2022 as the headliner. He hit the Rocky stage in shorts, a puffer jacket and his Ushanka hat with the explosive “Corso,” from last year’s Grammy-winning album “Call Me If You Get Lost.”

His growth as both a conceptualist and a rapper was evident throughout the set, both in his creative visual presentation and in the emotional intensity of songs like “Come On, Let’s Go”. Musically, his new songs can be thunderous and frantic or display a light and breezy touch, as the lyrics move from frivolous to seriously deadly.

His main supporting acts were two Philadelphians: Jazmine Sullivan, who opened her set with a bang with her 2008 hit “Bust Your Windows,” and Lil Uzi Vert who delivered a high-energy set with pyrotechnics after announcing, “J hope you I’m ready to rage cause I’m ready to lose my mind.

The festival drew large crowds throughout the day to the fenced site extending from the steps of the Philadelphia Museum of Art, particularly in front of the festival’s two main Rocky and Liberty stages.

Rappers Pusha-T and JID and indie electronic artist Toro Y Moi performed as marijuana smoke wafted through the air among a diverse crowd of mostly high school and college-aged fans, many of whom wore a version red, white and blue Made in America uniform.

Despite the afternoon heat, many fans also accessorized white Russian Ushanka hats with flaps, mimicking the look Tyler, the designer wears on the cover of his award-winning “Call Me If You Get Lost” album. a Grammy.

A much larger crowd is expected on Sunday, when global superstar Bad Bunny headlines, and an international cast of artists are set to perform, including Nigerian pop star Burna Boy and Persian R&B singer -Swedish Snoh ​​Aalegra.

» READ MORE: Everything you need to know about Made in America Festival 2022

Day one kicked off with a set from singer-songwriter Dixson, who addressed a party-ready crowd by announcing, “You may not know me, but you know my music.

Dixson, who lives in Los Angeles and was born Darius Scott, has written for Chance the Rapper, Justin Bieber and Beyoncé, with whom he co-wrote “Be Alive,” the Oscar-nominated song from the Williams sisters’ tennis movie. King Richardas well as two songs from his new album, Renaissance.

But singing along to a backing track and playing acoustic guitar, Dixson’s short, sweet and enjoyable set, which ended with his risque new single ‘Cherry Sorbet’, suggested he had a bright future ahead. the microphone as well as behind the scenes.

Made in America has grown from a true multi-genre festival with lots of rock and EDM to an almost entirely hip-hop and R&B gathering. But with big-name numbers drawing crowds, there’s still room for experimentation and variation.

» READ MORE: See inside Bad Bunny’s sold-out El Último Tour del Mundo in Philadelphia

For example, on a Saturday afternoon, Toro Y Moi, the San Francisco Bay Area indie electronic band fronted by Chazwick Bundrick, now known as Chaz Bear. The biggest crowd of the day so far gathered on the north side of the festival on the Liberty Stage, where Bundrick teamed up with a guitarist and two other programmers, creating engaging psychedelic disco soundscapes that got the ball rolling. the public appeased.

“All the music is in Philadelphia this weekend,” Bear said, as he launched into songs that sought to balance exploration of the mind with the more practical concerns of his 2022 album. , mahal. “Woo woo woo,” he sang. “It’s just another world to grab and hold.”

Zah Sosaa, the rising Philadelphia rapper who blew up a gathering crowd, was performing on the Freedom Stage after Dixson.

READ MORE: Philadelphia’s Made in America Festival Makes City a Top Airbnb Labor Day Destination

“Of all the new rappers in North Philly, he’s one of the most interesting,” said Brady Ettinger, 31, of Fishtown, leaning against a tree to get relief from the sun beating down on the tarmac of Ben Franklin Parkway.

Ettinger was taking a break from working at the Philadelphia School District booth in Made in America’s Cause Village, where Headcount, Black Voters Matter and Meet Milo Reform’s criminal justice group also had booths.

“All music festivals are big, messy, chaotic events,” Ettinger said. “But bookings for this one this year are pretty strong.”

Ettinger, who holds a Thursday night residency at the LMNO Listening Room in Kensington as DJ Sylo, cited Bad Bunny’s Sunday closing punch (“It’s the greatest act in the world”) and Nigerian pop star Burna Boy, whose song “Last Last” is “one of the songs of the summer”.

At the school district booth, Frank Machos, the city’s executive director of arts and creative learning, on a pair of turntables, guided those interested in learning how to DJ. “We’re showing people some of the music technology equipment that we have in some of our new programs,” he said, while accepting donations for the Philadelphia School District Fund.

Ettinger said he had been to MIA three or four times before and had very fond memories of seeing Run-DMC in 2012. This year, he said the escalation of gun violence in the town and the panic that caused the evacuation of the boardwalk on July 4th. “was in the back of my mind” as he considered attending the festival this year, but “not enough to keep me from coming”.

“The only thing that worries me is if something happened and all these kids freaked out because they wouldn’t know what to do,” Ettinger said, pointing to the mostly high school and college-aged festival-goers who rushed in. in short shorts. and Sixers jerseys.

However, the event passed off without incident.

It wouldn’t look like true Made in America without Pusha-T. It seems the Virginia rapper who rose to fame with his brother No Malice in the hip-hop duo Clipse, plays the annual Labor Day weekend festival in Philadelphia, though that’s actually just his fourth MIA.

On Saturday, Pusha ordered the Rocky Stage at 6 a.m., just as the sun began to set west of the art museum’s west steps. Dressed in black shorts and yellow Hawaiian shorts with a silver medallion around his neck, Pusha delivered no-nonsense precisely stated fundamentals tailored to fans who are tired of mumbling rappers.

Made in America landed the hot rapper of the minute in JID, the Atlanta-born Destin Choice Route MC, who performed his thing at 5 a.m. on the increasingly crowded Liberty Stage. Working with just a DJ as he worked the moving crowd in black slacks and a white sleeveless t-shirt, the rapid-fire rhymer kept it simple and informative, pulling from his hot new album, The Eternal Story.

This collection, which was released on August 26, is a clear candidate for hip-hop album of the year and brings him a large following and ensures that he is no longer known as an underrated rapper.

On the Liberty Stage, JID lifted the crowd while demonstrating a variety of intricate flows of rapid fire and stuttering mic steps, and revealed himself to be a student of history, dropping samples of A Tribe Called Quest classics. , Helen Merrill and Aretha Franklin played before starting.

Jazmine Sullivan, who grew up at Strawberry Mansion, not far from the stage she performed on, followed her ‘Bust Your Windows’ focusing on Heaux Tales, with a tour de force performance that sounded terrific as the September evening was getting cooler. She made every rising voice or expert performer swoop or lean in a trill to hit an emotional sweet spot.

At the start of her set, she thanked her local fans profusely and said the city “just gave me the backstage of the Liberty Bell.” It probably wasn’t the Liberty Bell, but whatever the honor, it deserved it.

At the end of the evening, Tyler, the creator, received kudos for his directing. Early on, he introduced himself, “My name is Tyler and I run ideas for a living.” Sitting on the edge of the stage, he rapped, “Philly Philly, where I’m from,” quoting a 1999 duet between Eve and Beanie Sigel which he said was his first show in Philadelphia.

“The art and music that comes from your city is magical,” he said.

South Korea’s most interesting artists are highlighted alongside an impressive international roster at the inaugural Seoul Frieze

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Last week’s rain proved to be fortuitous: several days of drizzle and its subsequent humidity made the air-conditioned aisles of the Coex Convention & Exhibition Center in Seoul’s Gangnam-gu district all the more alluring. Occupying two levels of the huge, multi-block building, the 20th edition of the Korea International Art Fair (KIAF) is co-presented alongside the debut of Frieze Seoul, the fair’s first iteration in Asia, which all come two to open to art lovers yesterday.

Sungsil Ryu, presented by P21 in Focus Asia, Frieze Seoul 2022. BigKing Travel Ching Chen Tour–Mr. Kim’s Revival 2019 Single channel video 2019 25 min (still image). Courtesy of the artist and P21.

Fittingly, contemporary works from South Korea and Asian diaspora communities seemed to generate the most excitement in the crowds at both fairs: Seoul gallery P21’s playful booth showcased the artist’s standing structures native Sungsil Ryu pasted with traditional symbols of Korea, such as green hills, lush tropical flowers. , and water lilies, with cheeky digital layers – embedded TVs playing Korean shows and wavy vertical electronic cascades – laying alternately layers of critical commentary on capitalism and family norms running through subdued images of natural serenity and colorful mountains. concrete with snow-capped peaks. (Last year, the 29-year-old artist became the youngest artist to win the Hermès Misulsang Foundation.) At the Commonwealth Space in Los Angeles and the Council Space, Young Joon Kwak and Gala Porras- Kim collaborate on a diptych, where a meticulously researched educational library of objects is lovingly arranged on a system of shelving to create a visual timeline and historical narrative. Title objects of pleasure, Kwak queers Porras-Kim’s “Index” drawing series by curating a taxonomy of sex objects and having Porras-Kim paint it in a palette of pink and mauve. Kwak also has a kinetic sculpture hanging in the center of the stand, where two women share a Magritte-inspired kiss Lovers. One side of the sculpture is black, but as it slowly rotates another crystal-encrusted facade emerges, celebrating the figures without revealing their identities, just like in the surrealist master’s painting.

Ryu’s highly anticipated pieces at booth P21 at Frieze Seoul.

Speaking of things, modern and historic works also generate crowds and recommendations: Acquavella Gallery on New York’s Upper East Side has works by Francis Bacon, Keith Haring, Giacometti and Warhol for close admiration. In the Masters section of Frieze, London gallery Richard Nagy shares a large presentation devoted to Egon Schiele, whose drawings of nude bodies still generate as much shock today as they probably did in 19th-century Austria. On the first level of the building, KIAF’s selection favors more Korean galleries from cities outside the capital and features a range of historic, mid-career and emerging Korean artists. Modern Korean masters were also present throughout the fairs: the transparent and soft buildings of Do Ho Suh (at Lehmann Maupin), the dynamic wall sculptures of Haegue Yang (Kukje Gallery) and the luminous televisions of Nam June Paik (Moin Gallery ), as sharp and compelling as when the artist first used the technology.

Hub-1, Kitchen Lobby, 185 Comptons Lane, Horsham, United Kingdom, 2020, Do Ho Suh
Hub-1, Kitchen Lobby, 185 Comptons Lane, Horsham, UK2020, Do Ho Suh.

Courtesy of the artist and Lehmann Maupin. Photograph by Jean Taeg Su.

Further emphasizing the connections between generations of artists in South Korea, Chanel now and then The video series also features studio tours pairing established artists with emerging artists, playing online and at the local Chanel boutique: Jina Park with Yaerim Ryu, Kelvin Kyung Kun Park with Eusung Lee, and Heeseung Chung with Kyoungtae Kim. Saint Laurent also has a special presentation of the work of Korean artist Lee Bae at the fair and in the nearby house store, where Bae’s “Brushstrokes” series, huge charcoal ink mural gestures on paper, forms a backdrop for his new bronze sculpture. from the fire (“out of the fire”).

The Saint Laurent exhibition space at Frieze Seoul
The Saint Laurent exhibition space at Frieze Seoul, which features works by Lee Bae.
Emma
Aloethylene, 2022. Oil on linen. 84 × 120 in. | 213.36 × 304.8 cm. Courtesy of the artist and Perrotin. Photograph by Marten Elder.

Galleries, museums and collections are also opening flagship exhibitions and presentations across the city: Perrotin has opened its second exhibition space in Seoul with an exhibition by Emma Webster entitled “Illuminarium”. At the Leeum Museum of Art, the group exhibition “Cloud Walkers” features artists who practice sustainability as a means of active protest against abandonment in the face of a growing climate crisis, including works by AA Murakami, Tishan Hsu and WKND Lab (WeekendLab). The Sonje Art Center presents two personal exhibitions: “Seoul Weather Station” by Moon Kyungwon and Jeon Joonho and “Songs for Dying and Songs for Living” by Thai artist Korakrit Arunanondchai. Andreas Gursky’s Amorepacific Art Museum exhibit features satellite images of coastlines taken 35,000 kilometers above sea level, at which point they become almost abstract. In addition to local galleries such as Kukje, PKM and Whistle, the international gallery community continues to expand: Lehmann Maupin, Pace, Perrotin, Thaddeus Ropac and Various Small Fires have all set up permanent spaces in the city in recent years. years. .

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The good vibes and familiar songs of the Zac Brown Band were crafted for the perfect grandstand night

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At the start of his band’s sold-out Friday night show, Zac Brown said it was a perfect night.

The weather wasn’t quite perfect – although a breeze helped blow away the day’s humidity – but the Zac Brown Band turned out to be the perfect band to play at the Minnesota State Fair.

Brown, 44, began his career singing country and pop covers in bars and learned a lot about how to entertain an audience in the process. As always, the band’s show on Friday offered a little something for everyone, with a clever mix of covers and Zac Brown Band originals, many of which sound familiar the first time you hear them. It’s hard not to fall for Brown’s laid-back charm.

After a rousing and moving set by Robert Randolph and the Family Band, Brown walked on stage in front of 13,185 delighted fans and delivered two of ZBB’s many hits, “Keep Me in Mind” and “Toes.” He followed with the first cover of the night, Kings of Leon’s “Use Somebody,” which sounded better than the original.

From there, Brown and company performed what sounded like a ’70s Top 40 radio station, from the soft rock of “Loving You Easy” to the calypso soul of “Jump Right In” to their everlasting interpretation. Charlie Daniels Band epic “The Devil Has Come Down to Georgia.

While Brown remained a fixture, he made some stylistic detours into dance and electronic music in the late ’10s that country radio ignored. His seventh album, “The Comeback”, returned to the sound that made him famous. On Friday night, he played the record’s pair of singles, “Same Boat” and “Out in the Middle,” a darker number with Lindsey Buckingham-esque guitar.

Speaking of Buckingham, Brown introduced the band’s newest member, singer/songwriter Caroline Jones, and let her handle a superb cover of Fleetwood Mac’s “Big Love” that stripped down the slick production and injected it with southern rock/gospel drama. Great stuff.

Jones’ sassy number “Come In (But Don’t Make Yourself Comfortable)” also turned it into a medley with some really big hitters: Alabama’s “Dixieland Delight,” Randy Travis and Dolly’s “Forever and Ever, Amen.” Parton “9 to 5.” Turns out the Zac Brown Band really benefits from having a strong woman on stage with all the beefy, bearded dudes.

Skipping an encore, Brown finished with the Eagles’ “Take it to the Limit”, Queen’s “Bohemian Rhapsody” and the band’s “Chicken Fried” and “Homegrown”. Really, only complaint is that the 90 minute running time felt like a party that ended too soon.

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Lamorn releases retro music video for ‘Who We Are’

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Photo credit: Léa Sems


Lamorn just released the music video for her single “Who We Are” to help keep everyone dancing through the weekend.


Evoking a sense of nostalgia in listeners has been the name of the game for the rising phenom Lamorn since he started to climb the ladder of the scene. Attracting the attention of legends like deadmau5he quickly made a name for himself with releases like Bis while developing her abilities to rock the dance floors with her sets. Lamorn’s journey on mau5trap continued earlier this summer with the release of their latest track, “Who we are“, and now, with the final weeks of the season on the horizon, he has released a music video for the air.

“Who We Are” is a funk-fueled electro-pop track, perfect for listening to on those long summer nights spent hanging out with friends without a care in the world. The air is littered with elements that will take you back in time, so when Lamorn set out to create the music video to pair it with, he decided to wreck any sense of the digital realm and instead focus on creating it at using analog equipment.

The process of obtaining all the necessary equipment to make this possible was not the easiest. While he had his childhood camcorder handy, he turned to the internet to find everything from VHS VCRs and video mixers to retired lab oscilloscopes and adapters. He also drove almost an hour from home to get a suitable CRT television set to use for this as well.

Most of the video I’ve used here I took with my camcorder. I went out with my friend one night and got a bunch of footage of driving in the suburbs and walking in the mountains surrounding our area. We spent a lot of time there in high school, so we knew some fun places to take decent photos. I also took videos in my backyard and various other little things to get some good stuff to work with.

Lamorn

Once Lamorn got everything needed, footage and all, he compiled it, exported the video, and processed the entire project. The result is a music video that will take you back in time while stirring up the emotions of when you had fewer worries in your life.

Check out the music video on YouTube, stream or buy “Who We Are” on your favorite platformand let us know what you think in the comments!

Watch the official music video for “Who We Are” on YouTube:



Follow Lamorn on social media:

Website | Facebook | Twitter | instagram | SoundCloud | Youtube

Grant Gilmore’s authoritative voice as a media professional lends uncommon credibility to EDM journalism. As founder of EDM Identity, he has raised the bar for coverage of the biggest youth cultural phenomenon of the past decade. After ten years of working for the non-profit organization Pro Player Foundation, Gilmore launched EDM Identity as a medium providing accurate informational coverage of the rave scene and electronic music as a whole. Although they cover a comprehensive topic, they took special care to interview Armin van Buuren, Adventure Club, Gorgon City, Lane 8 and Afrojack. In addition to household names, they have also highlighted some unsung industry heroes through their ID Spotlight segment. Whether he covers it or not, you can expect to find Grant Gilmore at the next big electronic music event. To find out more about his itinerary, follow him via the social links below.

GloRilla, Tinariwen, Shygirl, Robyn Hitchcock and more

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So many artists, so many songs, so little time. Every week, we review a handful of new albums (from all genres), round up even more new music that we’d call “indie” and talk about what’s coming out of metal. We post music news, track premieres and more all day. We update a weekly playlist of some of our current favorite tracks. Here is a daily summary with a bunch of interesting and recently released songs in one place.

GLORILLA – “BLESSED”

The Memphis rapper GloRilla has had a meteoric rise since releasing her viral “FNF (Let’s Go)” and single “Tomorrow,” and now she has another new track out in the world, “Blessed.” This one is less of a party anthem and shows off a tougher side to GloRilla, and it’s another great one.

SHYGIRL – “NIKE”

Experimental pop and rap artist Shygirl shared another taste of Nymphand it’s a subdued but raunchy dose of art-rap that rocks the subwoofers.

ARI LENNOX- MISSING MESSAGE PE

The second album by Dreamville R&B singer Ari Lennox age/gender/location is coming next week (9/9), but first she prepares us with the Away message PE. It contains five new songs, including one with Summer Walker.

MARINA ALLEN – “HALFWAY TO HOME”

“Halfway Home is my hype-man song,” says Marina Allen of this lovely new song. “I wrote it for a friend who I really believe in, who was stuck in his own thoughts. It’s a wake-up song, a friendship song, a song I wrote because I needed to hear it too.” Marina Centrifics’ new album is out September 16th via Fire.

RL – “BE TRUE”

Los Angeles musician Rachel Levy has announced a new EP as RL, Be honestwhich will be released on September 27 via Lauren Records, and shared the appealing title track.

EDITORS – “VIBE”

Tom Smith, frontman of longtime UK indie band Editors, says the band’s new single “Vibe” “takes where [2019’s] “Frankenstein” has come to a standstill and is an anthem celebrating the night and all that thrives in the dark. »

TINARIWEN – “ARGHANE MANINE”

Malian band Tinariwen have announced a reissue of their 1992 hand-swapped cassette Kel Tinariwen which will be his very first official release. It will be released on November 4 via Wedge. Discover “Arghane Manine” which shows a more electronic version of the group.

BEVERLY KILLS – “FANTASY”

The debut album by Swedish band Beverly Kills Kaleido due out September 30 via Welfare Souds, and the latest single is “Fantasia”, which they say is “about dreaming about catastrophic events. Crash your car on the freeway, get away unscathed. Start a fight with someone and win without a claw on your hands.”

CRACK CLOUD – “A COSTLY ENGINEERED ILLUSION”

As usual, the latest single from Vancouver collective Crack Cloud is accompanied by an ambitious self-directed video. They say: “We spent a week in Trenčín, Slovakia, during the summer, producing a theatrical representation of the housing crisis in Western Canada. It was our first venture into live theater; the process was spontaneous, disorienting and new. Finding synergy with Silvia Sviteková and her dance company was an enriching experience, strengthening our mutual love for creative improvisation. The video is mostly a compilation of B roll from our time there. Crack Cloud’s second album, Hard babywill be released on September 16 via Meat Machine.

THE SWEET MOON – “MONSTER”

The Soft Moon has shared another new track from their upcoming album To exist, accompanied by a provocative music video. According to director Bryan M Ferguson, “The song evokes for me a real sense of underlined pain. I knew straight away that the video should be a metamorphosis, a person’s body transforming into something hideous. C is definitely a literal visual interpretation of what the song is about, but I really wanted the transformation from one physical form to another to be slow, painful and almost organic.” Exist will be released on September 23 via Sacred Bones.

ROBYN HITCHCOCK – “THE ENRAGED MUSE”

“Songs come to me alive and sparkling, fresh out of the lake of my subconscious. I’m a compulsive writer,” says Hitchcock of “The Raging Muse” from his upcoming album, Shufflemania! “‘The Raging Muse’ was written in Nashville in 2020. It started life as a sketchy house recording, just me and my old Telecaster – the same guitar I played on ELEMENT OF LIGHT in 1986 – this time- ci faithfully crafted by Tubby and Ringo.Once I had the bones of the song, I sent it to my friend Davey Lane in Melbourne, who fleshed it out with a sharp lead guitar, and then to Charlie Francis in Cardiff, who added the melodramatic piano and bagpipe weed in this song is one of many recurring dreams of mine, I’m sure they will come up again soon.” Shufflemania! features former Soft Boys bandmates Kimberley Rew and Morris Windsor, as well as Johnny Marr, Brendan Benson of The Raconteurs, Sean Ono Lennon, Kelley Stoltz and Eric Slick of Dr Dog, and will be released October 21 via Tiny Ghost.

VR SEX – “SNAKE WATER” (LIVE VIDEO)

Gothy psych-punks VR Sex release new album Gross dimensions on Dais Records earlier this year, and now they have an official live video for his song “Snake Water.” It’s a sensory overload of a video, which fits perfectly with the snarling song.

CARM – “MORE AND MORE” (ft. EDIE BRICKELL)

CARM, the solo project of CJ Camerieri (yMusic, Bon Iver, Paul Simon, etc), will be released CARM II on October 21 via 37d07d, and the first single is this atmospheric collab with Edie Brickell.

NATIVE SUN – “THERE IS THE REVOLUTION”

Brooklyn punk bands Native Sun have announced a new EP produced by Walter Schreifels, Down with our heads, October 14 via Grand Jury. Along with the announcement comes this sneering, fuzzy single.

KARIN PARK – “TOKYO AT NIGHT”

Liberation of Karin Park Private collection on October 7 via Pelagic, and now you can experience the booming gothic pop art of “Tokyo By Night.”

LESS JAKE – “THE HIGH COST OF LOW LIVING” (ACOUSTICS)

Less Than Jake has announced a 2020 deluxe edition silver linings, due October 21 via Pure Noise. It includes two new songs and acoustic versions of four of the songs from the album. One of them, “The High Cost of Low Living”, is out now, along with a new music video for the album’s song “So Much Less”.

THE 1975 – “I’M IN LOVE WITH YOU”

The 1975s shared “I’m In Love With You”, the third single from their upcoming fifth album be funny in a foreign language, and this one finds them exploring their sweet jangle pop side. Learn more here.

THE RAGING NATHANS – “NOTHING I CAN DO”

Dayton, Ohio punks The Raging Nathans are about to release their fifth album, Still spitting bloodin November via Rad Girlfriend Records, and you can read more about the first single “Nothing I Can Do” here.

MOUNT KIMBIE – MK 3.5 FT SLOWTHAI, DANNY BROWN, VIV.E

Electronic duo Mount Kimbie (Kai Campus and Dom Maker) are back and have shared two double-A singles which they collectively call MK 3.5. “in your eyes” features slowthai and Danny Brown, while “a deities encore” features Liv.e, plus “Q” and “Quartz”. It’s their first new music in a year.

VINCE GUARALDI TRIO – “”SKATING” (#7 TAKE 1 RECORDED SEPTEMBER 22, 1965)”

One of the greatest holiday albums of all time, Vince Guaraldi’s score for the equally beloved special A Charlie Brown Christmas, is re-released on October 14 via Craft Recordings. There are a few different editions available, all of which feature a brand new stereo mix of the album, remastered from the original 3-track and 2-track sources. There are also deluxe and super deluxe editions featuring excerpts from the sessions the Vince Guaraldi Trio recorded for the special. Check out this other take, complete with studio talk, from “Skating.”

Looking for even more new songs? Browse the archive of new songs.

Read the Music Industry’s “Joint Statement of Recognition”

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Sorry seems to be the hardest word for many. In 2022, this is an integral part of the vernacular of the music industry.

Today (September 1) saw the release of Raising their voices, the long-awaited examination of sexual harm, harassment and systemic discrimination in the contemporary music industry.

And with its release, an extraordinary range of companies, brands and organizations issue an official apology for years of reckless and harmful behavior in the workplace.

months of preparation, Make their voices heard is a confrontational document, in which more than 1,600 voices contribute to an overview of the appalling actions across the company.

Change is coming. The review demands it, with a 17-point set of recommendations.

One such call is for a “recognition statement” from industry leaders, including artists, who should deliver a united message acknowledging the harm “caused by sexual abuse, sexual harassment, bullying and systemic discrimination in the contemporary music industry”.

Recommendation 9 also addresses the need for a commitment to cultural reform across the industry, including accountability; and a commitment to implement the recommendations contained in this report.

This “statement of recognition” has been circulated and includes dozens of signatories from across the industry, including APRA AMCOS, ARIA, Mushroom Group, TEG and the three major music companies.

Read the full message below:

Music Industry Joint Statement of Recognition
September 1, 2022

CONTEXT

Today, the music industry’s review of sexual harms, sexual harassment and systemic discrimination, Raising Their Voices, was released. The report provides a blueprint for how we can act to make the music industry safer, more inclusive, more respectful and ultimately stronger. The report is based on solid evidence, drawing on a survey of almost 1,300 people and the stories of more than 300 people in the music industry who spoke or wrote directly to the review team. .

STATEMENT

As leaders of Australia’s contemporary music industry, we accept the distressing conclusions of the review. We acknowledge the harm documented by the review and we apologize.

This review has been a vital process of listening and truth. We thank all participants for their courage to speak up, to courageously relive their experiences, and to engage in this critical report. We recognize the impact of these behaviors on the lives of the surviving victims of our industry.

Everyone has the right to work in an environment free from intimidation, sexual harassment, sexual assault and discrimination. As disturbing and confronting as the results are, the Australian music industry is committed to change and rebuilding trust. The music industry should – and will – foster safe, welcoming, respectful, creative and fun environments.

We have listened and heard your calls for change. We can and will continue to do better. We all can.

As leaders and members of the music community, we all have a responsibility to be an example of courageous leadership and do our best to stop bad and destructive behavior. We urge everyone in the music industry to continue working with us to implement lasting, long-term change for the better. We all have a personal and professional responsibility to make our culture the best it can be.

We are committed to working on the report’s recommendations, doing the necessary work and being accountable, to ensure our industry’s workplaces are safe, inclusive and respectful. Our work has already begun, and it won’t stop until we have a safe culture for all.

SIGNATORIES

[PIAS] Australia and inertial music
albert
AMPALE
ARPA AMCOS
ARIA
Artists only
Association of Artist Managers
Australian Arts Council
Australian Festival Association
Australian Association of Independent Record Companies
Australian Live Music Business Council
Australian Music Center
Australian Music Industry Network
Catherine HaridyManagement
Central Station Records
Chugg Music
Chugg Entertainment
CMC Rocks
Country Music Association of Australia
electronic music conference
Eleven: a music company
Border Tour
Future classical recordings
GYROstream
John Watson Management
Australia Live Performances
nation live
Media Arts Lawyers
Body Type Consulting Services
Multicultural Arts Victoria
mushroom group
music law
MusicNSW
NT Music
SA Music
Victoria Music
Native Tongue Music Publishing & Concord Australia
Nettwerk Music Group
Ourity
PBS 106.7FM
Peninsula Hot Springs
CAPP
QMusic
red rebel music
Songlines Aboriginal Music Society
Sony Music Entertainment UK
Sony Music Publishing Australia
support law
Make it sweat
TEG
Annex
think hard
TMRW Music Group
UNIFIED Music Group
Universal Music Australia
W.A.M.
Warner Chappell Music Australia
Warner Music Australia

To show your support and join this list, click here.

DJ Carlo Ratto Releases Fresh Pop Anthem “Talking To You”

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At first listen, Carlo Ratto’s Last Drop might sound like just another cookie-cutter techno pop song. But on closer inspection, there’s more to this track than meets the eye. Soaring piano chords and catchy vocals are reminiscent of early 2000s pop songs, while powerful violin drops give the track a modern feel. Plus, the lyrics are both smart and relatable, making the song an instant earworm. Whether you’re looking for a summer feel-good anthem or a catchy tune to sing along to in the shower, Carlo Ratto’s latest drop is sure to please.

DJ Carlo Ratto is known for his high-energy releases, and his latest track is no exception, “Talking to You” is a call to arms, a statement that demands attention.

Bouncing off the walls with tightly coiled reverb, colossal rolling bass drums bring dense dominance to the output. The main synth races through the mix like a neon comet, leaving a trail of sparkling melody in its wake. It’s bold dance music that’s not afraid to show its teeth. It’s the sound of an artist who knows exactly what he wants and isn’t afraid to go for it. And we’re all better for
this. The result is a track that’s sure to get any party started. So if you’re looking for a new anthem to add to your playlist, be sure to check out the latest release from DJ Carlo Ratto.

Ratto is the artist you want on the decks when looking to get the party started. He has a well-deserved reputation for rocking crowds with his high-energy sets, and he knows how to read a play to keep the party going all night. But it’s not just his dancing feet that make Ratto a top DJ – it’s also his carefully curated tracks. He has a knack for finding the perfect song to fit the mood, whether it’s a hands-up anthem or a slow jam to bring people together on the dance floor. If you are looking for an artist who knows how to bring people
moving, Ratto is your man.

Architects struggle with identity in Crushing Song ‘deep fake’

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A “deep fake” is described as synthetic media where the existing image of a person is replaced with the likeness of someone else. And if you feel like you don’t quite feel like yourself, architects can understand. The band just released a crushing new song called “Deep Fake” which asks questions related to identity and self-confidence to embrace who you are.

“deep fake” is the last song from the band’s upcoming album, classic symptoms of a broken spirit, and it continues their musical evolution. As you’d expect, it’s a heavier track with gritty guitar work and heart-pounding beats, but it also features more synthesized and hypnotic melodic verses before Sam Carter kicks off the chorus.

The track is accompanied by a performance video directed by Jeb Hardwick featuring the band playing in a darkened room, sometimes lit by backlit screens. And that bit of anonymity fits well into the themes of the song. Take a closer look at the video and lyrics below and if you like what you hear, the track is available here.

Architects, “deep fake”

we, we want to swim in the deepest depths of oblivion
we want to know that the gods control us
we see the cards and we go to bed
we play the game but it gets old fast
they took the ark and sold it in parts
they got a fist full of fucking gold
a return on the souls they sold
do you remember who we are?
these tyrants will build an abyss
but the rest of us wish we existed
we hide like a shadow in the dark
in the dark
Be the change you want to see
No not like this
it’s a risk, we all agree
damn the fucking facts
but it bleeds right in front of me
we are attacked
yes, we all know that these rights are sacred
we will never leave this shell
hope you don’t miss your gold now
save us a special place in hell
you’re the reason why our hearts ache
fake deep
we are one
we see the cards and we go to bed
we play the game but it gets old fast
we took the ark and sold it as parts
they got a fist full of fucking gold
a return on the souls they sold
do you remember who we are?
these tyrants will build an abyss
but the rest of us wish we existed
we fight with a shadow in the dark
fake deep

Architects, “deep fake”

As noted, “deep fake” will appear on Architects’ classic symptoms of a broken spiritwhich is due out on October 21. Pre-orders are currently being taken here.

Meanwhile, the band had planned to come to the United States to support the new album this fall, but that won’t happen after the announcement of a cancellation earlier this month. The band cited “logistical issues” for the cancellation. The group said everything from transportation to visa approval times posed challenges for them as they tried to create shows pushed back by the pandemic lockdown.

That said, UK and European shows will take place later this year. See dates and get ticket details here.

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Debt consolidation vs bankruptcy: what’s the difference?

Our goal at Credible Operations, Inc., NMLS Number 1681276, hereafter referred to as “Credible”, is to give you the tools and confidence you need to improve your finances. Although we promote the products of our partner lenders who pay us for our services, all opinions are our own.

Debt consolidation with personal loan or bankruptcy: Both are debt solutions, but one is better than the other. (Shutterstock)

Debt consolidation and bankruptcy are two options for dealing with overwhelming debt. Both offer a long-term solution to your debt, but they work very differently and have varying consequences for credit.

A personal loan can be a good tool for consolidating high-interest debt. Credible, it’s easy to view your prequalified personal loan rates from various lenders, all in one place.

Debt consolidation vs bankruptcy

Debt consolidation and bankruptcy can both help you manage your debts, but it’s important to understand how each works before deciding which option is right for you. Here are some key differences between debt consolidation and bankruptcy.

Debt Consolidation

Debt consolidation merges multiple debts into one, usually by taking out a new loan or a balance transfer credit card to pay off your existing debt balances. This option is best suited for those who can pay off their debt but have difficulty managing multiple monthly payments or high interest rates.

Debt consolidation can hurt your credit in the short term since it requires taking on new debt. But it can increase your long-term credit as you pay off your debt. Debt consolidation may have a small associated cost in the form of loan origination fees or balance transfer fees, if you are using a balance transfer credit card to consolidate.

How long it will take to get rid of your debts depends on the debt consolidation route you choose, how much debt you have and how much you can afford to pay each month. But it may be possible to be debt free within five years.

Bankruptcy

Bankruptcy is another solution to debt, but with a very different process and different ramifications. Unlike debt consolidation, bankruptcy is a legal proceeding. And instead of helping you consolidate debt or get lower interest rates, it helps you get rid of debt altogether.

If it sounds too good to be true, know that there are some serious downsides. First, not all types of debt can be discharged in bankruptcy, so you may still find yourself stuck with some debt.

What you need to know about debt consolidation

In most cases, debt consolidation involves take out a personal loan to settle your other debts. You will then have only one debt with only one monthly payment to settle. In some cases, you may qualify for a lower interest rate than you’re paying on your other debts, which can also save you money in the long run.

Debt consolidation can also be done in other ways, including using a balance transfer card to manage credit card debt or a home equity loan or home equity line of credit (HELOC) to pay off your debt.

Advantages of debt consolidation

  • Streamlines debt repayment — Debt consolidation can help you go from multiple monthly payments and interest rates to one. Not only is it easier to track your debts, but you might also end up paying less each month.
  • Can get a lower interest rate — Debt consolidation can lead to lower interest rateespecially if you are consolidating high interest debt like credit cards or using secured debt like a home equity loan to consolidate your debt.
  • Can improve your credit — Although you may see a temporary drop when you open new debt, debt consolidation can improve your credit usage and make it easier to make on-time payments each month.
  • Getting Out of Debt Earlier — With a potentially lower monthly payment and interest rate, debt consolidation could help you pay off your debt faster. Depending on the amount of your debts, it can take up to several years or as little as a few months to become debt free.

Visit Credible for compare personal loan rates from various lenders, without affecting your credit.

Disadvantages of debt consolidation

  • May pay fees — Debt consolidation may incur additional costs in the form of origination fees on a Personal loan or a home equity loan, or a balance transfer fee on a credit card. Consider additional fees to ensure that consolidating your debt will make financial sense.
  • The interest rate cannot be lower — There is no guarantee that debt consolidation will result in a lower interest rate. Personal loans can have high interest rates, especially for borrowers with bad credit. If you already have low interest rates on your current debts, debt consolidation might not be beneficial.
  • Assets could be at risk — Depending on the type of debt consolidation you use, you could be putting other assets at risk. For example, a home equity loan is secured by your home, which means your lender could foreclose on your home if you stop making your payments.
  • May not reach root cause of expense — If you haven’t addressed the root cause of your debt, your debt consolidation loan could help you pay off your credit cards, but encourage you to use them for additional purchases. As a result, you can find yourself in an endless cycle of debt.

What you need to know about bankruptcy

If your financial situation is dire and you are considering bankruptcy, here are the two different types:

  • Chapter 7 Bankruptcy — This type of bankruptcy allows you to pay off certain debts. In return, your non-exempt assets will be sold to help provide compensation to your creditors. What is considered exempt property depends on your state, but can include work-related items, a personal vehicle, equity in your personal residence, and household furniture.
  • Chapter 13 Bankruptcy — With Chapter 13 bankruptcy, a court representative will help you create a repayment plan rather than paying off your debts. You will pay installments to your creditors for a number of years and, in exchange, you will be able to keep all your assets. Any outstanding debt at the end of the repayment term will be discharged.

It is important to note that some debts cannot be discharged in a Chapter 7 bankruptcy. Debts that will not be discharged include child support, alimony, taxes, and student loans. Chapter 7 bankruptcy also has an income limit. Those who wish to declare bankruptcy and are not eligible for Chapter 7 can use Chapter 13 instead.

Advantages of bankruptcy

  • Can provide debt relief — Bankruptcy can relieve you of your debt and, in the case of a Chapter 7 bankruptcy, help you pay off some of your debts entirely.
  • Can help you avoid foreclosure — Bankruptcy can help you avoid a legal judgment or foreclosure due to unpaid debts.
  • Some goods will be taken – While some of your personal assets will be liquidated to pay off loans, others will be exempt from liquidation.
  • May not lose all your possessions — In the event of a Chapter 13 bankruptcy, you may be able to keep your assets while having some of your debts discharged.

Disadvantages of bankruptcy

  • Sustainable credit effects — Bankruptcy stays on your credit report for up to 10 years and could prevent you from borrowing money, renting an apartment, getting insurance, or even getting certain jobs.
  • Could lose your property — Depending on the type of bankruptcy, you could end up with a lot of your personal assets seized and liquidated to make payments on your debts.
  • Not all debts are eligible for discharge — Certain debts, including student loans and child support, cannot be discharged in bankruptcy.
  • May have to pay a fee — Bankruptcy can result in additional court, administrative and attorney fees during a time when you are already struggling to pay what you owe.

Bankruptcy should be considered a last resort. Consider a personal debt consolidation loan instead. You can quickly and easily compare personal loan rates with Credible to find the one that meets your needs.

Twiddle, Shlump and more to energize the Big Fam Festival

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The Labor Day weekend festival at Liberty Mountain also features more than 50 artists from Michigan, from Biomassive to Desmond Jones. The Big Fam Festival preview and playlist on Local Spins.

Sunday headliner: Twiddle plays at the Michigan festival this weekend. (Photo/Eric Stoike)

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“An overall sense of community and unity.”

That’s the impetus behind the lineup and overall vibe of the Big Fam Music & Arts Festival on Labor Day weekend in Farwell.

So says Andrew Martin, director of the sophomore music festival that runs Friday through Sunday at Liberty Mountain, about 95 miles northeast of Grand Rapids.

“We welcome open-minded people from all walks of life with open arms to this annual experience,” he said. “Every artist we book is intentional. We spent a lot of time organizing the general atmosphere and creating an experience that everyone can enjoy.

Firing Up Friday Night: California Shlump. (Courtesy picture)

For 2022, that atmosphere revolves around a mix of jam bands and electronic music artists – from bass music to house music – ranging from acclaimed national acts such as Shlump, The Widdler, Truth, Twiddle, Jason Leech and A Hundred Drums to Michigan favorites Biomassive, Super Future, Desmond Jones, Dixon’s Violin, Chirp, Stormy Chromer, Hannah Rose Graves, Earth Radio and Trifocal.

“There are over 50 artists on Michigan’s lineup – a true showcase of some of the best up-and-coming artists from across the state,” Martin said.

Drummer John Nowak of Grand Rapids jam band Desmond Jones said the band was thrilled to share a stage with acclaimed Vermont funk rockers Twiddle for the first time on Sunday night.

“They are complete professionals and a band that also embodies a lot of what we want to be as a band,” he said, adding that the Big Fam festival bills itself as “a very special event that supports musicians. , local artists, production, hospitality and more.”

MAKE NEW FANS, HANG OUT WITH FRIENDS, PRESENT NEW ACTS

“We’ve known some of the organizers for a long time and are happy to provide the soundtrack to their awesome event,” Nowak said. “We look forward to making new fans and spending time with old friends.”

Other headliners on Apogee’s main stage include California-based “West Coast bass” artist Shlump (Michael Petzel), Houston-based dubstep producer The Widdler and neo dubstep duo -Zealander Truth.

Happy to “provide a soundtrack” for Big Fam: Desmond Jones (Photo/Holly Holtzclaw)

“We have great love and respect for every artist on the lineup. However, I’m personally excited about two artists I’ve never seen before – Jason Leech and A Hundred Drums,” Martin said.

Leech, an EDM producer and keyboardist from Louisville, released several singles in 2022, including his latest track, “Dream,” which also features Evalution. Denver’s A Hundred Drums, aka bass music producer Gabrielle Watson, followed up with a 2020 self-titled album featuring the singles “Enough is Enough,” “If I Have To” and “Dream State.”

The Camping Festival began in 2021 at Harmony Pines in Lake Ann, moving to its new location for 2022.

Martin is expecting 1,500-2,500 attendees for the Labor Day weekend event, which will also include an art exhibit from the Sundar Art Gallery, yoga and meditation sessions, educational workshops and vendors of food, drink and merchandise.

General admission weekend tickets are $230; two-day tickets, $180, and available online at bigfamfestival.com. Full-day options are also available; vehicle passes are $40 and camping passes are $100.

BIG FAM FESTIVAL 2022: The Local Tour Playlist

Copyright 2022, Spins on Music LLC

Album Review: Pantha Du Prince – Garden Gaia

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[BMG; 2022]

In the world of electronic music, the notion of a household name is both a bit new and laughable. Perhaps Skrillex at the height of its popularity; maybe Paris Hilton, but that’s incidental given her ubiquity and the nation’s general obsession with her every move; maybe the cake tosser from a few years ago, but good luck remembering his name.

In Europe as in the United States, there is a quasi-exception to this. The three “artists” I just highlighted were all made, packaged, and rocket-launched in Ibiza and the like. Their objectives were aimed at a very specific environment; a decidedly different fanbase of an artist like Prince Pantha. Fans of the German producer have become more attached to the intricacies of rolling bell sounds, fast shakers and all sorts of woody percussion featured on classics now This happiness and black noise. It’s this fan who has helped Pantha du Prince, along with luminaries like Andy Stott, Floating Points and John Hopkins, become part of this group of super-talented producers who are (relatively speaking, mind) household names.

Pantha du Prince’s catalog is striking in its consistency, starting with that of the tech-house giant in 2007, Diamond stunat the most fleshed out, bell-based, Panda-rocker black noise in 2010, with comparable calm and contemplation Tree Conference in 2020, with several more albums released in between. Hendrik Weber, who composes tracks under the name Pantha du Prince, knows what sounds are genuinely engaging and he leans on those to create tracks that are unlike anything else, but can still light up a floor. and appeal to the average headphone listener.

Or, should I say, just about anything, because those unfamiliar with Efedemin’s early hit releases on Dial Records, or Christian Loeffler’s jaw-dropping range of lengths can surely expect hear much of the same tribal bells and micro beats. who animate the productions of Pantha du Prince. It is the first eponymous album of the first and that of the second A forest on Ki Records; these two long players, as well as Gaia Garden all include bell beats that underpin the tracks, fleshed out compositions lasting five to six minutes, and landing somewhere between the dance floor and an exploratory drum circle.

The album comes together piece by piece like a hot wind on the opener “Open Day”, where Weber sets a loose and organic vibe, with much of the percussion played (or sounding) live: shakers, xylophones, wooden blocks and a stream of water are methodically added to cryptic synth lines and shimmering cymbals. And, yes, those magical, unmissable bells are always around the corner. A haunting melody grows more compelling with each listen, while bongo drums blaze and xylophones keep time.

“Start a New Life” features plenty of acoustic guitar plucks, alongside buzzing violin, dulcimer, and challenging percussion. It’s a far, far cry from your standard 120 beats per minute, and much closer to the Animal Collective-dominated campground circa 2002 or 2003. It’s the type of track, like many, that begs repeated scrutiny.

On another standout, “Blue (Bendik HK Edit),” Weber duets with a set of soft, reverberant female vocals. Shakers abound alongside a near-Amen break. Rhythm becomes spatial; reminiscent, in fact, of the celestial delayed synth pads of The Orb. The synth drone methodically disintegrates as it progresses, taking with it light streaks of a string melody.

When Pantha du Prince releases an album, there is undoubtedly a significant demographic that gets excited. One of those reasons, far beyond the Panda Bear factor or the LCD Soundsystem connections, is that it produces really great music. It has developed its own group of sounds and it works with specific parameters in a variety of unexpected modes. For the first time in a long time, however, the energies he expended converged on a true work of art.

80%

Take a trip to Greece with Minus & Zianos

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Greek duo Minus & Zianos give us a taste of the house sounds currently permeating the Mediterranean country.


Minus and Zianos might be a new duo on the production side of the dance music spectrum, but their legacy in the scene runs deep in Greece. The two artists discovered their shared passion for the deeper sounds of house and techno in 2009, and soon after, they started exchanging ideas and hitting the stage together. This has led Minus & Zianos to organize local residencies and guest nights in Thessaloniki over the past decade, while the duo have also begun to settle in Berlin.

More recently, however, Minus & Zianos have expanded their sound offering by debuting on Steve Bug’s pokerplat subtag, Sublettingwith a dubbed EP Dedication. This house EP features deep yet funky elements in both of its tracks, “Dedication” and “Grooveas the duo sought to moodtrax to round out the collection with a remix of its title track.

As the dance music scene continues to recover around the world, Minus & Zianos shared that their local community in Greece has revived. “The past two years have been tough for culture as well as for the global stage, not to mention a country that already had a tough job reaching dance culture to a wider audience,” the duo said. .

Minus & Zianos also gave us a taste of the scene in Greece beyond notable destinations like Mykonos. “Some big festivals are organized in Greece, like the Reworks Festival organized by the NON team in various big spaces in Thessaloniki,” they said. “[It] is the main dance event here in Greece once a year and features respected foreign artists as well as local artists who have the chance to present something new every year.

Local artists here in Greece, mostly in the last 5-10 years, present well-curated musical productions on respected labels and have many appearances abroad, giving them the chance to bring back interesting new ideas and to develop the scene in Greece even Suite.

Minus and Zianos

Live events aren’t the only important aspect of the scene, as rebuilding culture and helping to grow artists is also crucial. Minus & Zianos, as well as new artists rising through the ranks of the Greek scene, have sought out new spaces and created new ones in their efforts to exchange ideas with others. “Thanks to this need to exchange ideas, certain spots are offered to us, managed by respected artists and people who represent the country abroad, where workshops, conversations, musical productions, etc., are organized “, they said. “One of these projects, named ‘Thema Project’, is taking place in Thessaloniki.”

To help highlight the scene in Thessaloniki and Greece as a whole, Minus & Zianos have created an exclusive mix filled with stunning tracks to help you get in the groove this week. Listen to the mix on SoundCloud, download or stream it Dedication PE on your favorite platformand stay tuned for more from this dynamic duo.

Broadcast This is my home 068 || Minuses and Zianos [Thessaloniki] on SoundCloud:


Follow Minus & Zianos on social networks:

instagram | SoundCloud

Songbyrd Music House hosts WMUC’s first music festival

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A. Of them. One two three four!

The crowd roared as three-man punk band Curb Alert strummed their guitars and drummed under the bright green lights of Songbyrd Music House. The room was almost completely packed and the audience filled much of the space.

Along with previous DIY shows at neighborhood activity centers, this was Curb Alert’s first true live performance at a venue and its largest audience yet.

“It was a fantastic set,” said Oliver Foley, a sophomore in electrical engineering and drummer. “I’m so proud that we were able to play such a great set in front of such a big audience.”

WMUC 90.5FM, the University of Maryland’s student radio station, hosted a back-to-school music festival Thursday night at Songbyrd in Washington, D.C. The concert featured New York band Deep Sea Peach Tree leading the poster and local artists Jeff Draco, Makeup Girl, Curb Alert and Plastic Sun as supporting acts.

Junior journalism major and WMUC program director Molly Szymanski said plans for the festival date date back to May 2022. Inspired by the success of previous events hosted by WMUC as well as other college music festivals, WMUC staffers Jack Landau, Aidan Appelson, Foley and Szymanski hosted what Foley believes to be the first music festival in the station’s history.

One of the main reasons Foley, an assistant engineer at WMUC, credited carrying out the event was a chance to improve the radio station’s engagement with the university community.

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“It’s not just an opportunity to involve more people in the station, but an opportunity to expand the definitions of what we can do as a radio station,” he said. “From just being on the airwaves to being able to stream music live to people.”

Foley also said that WMUC wants to bring together different communities that make up the local music scene by inviting musicians from various genres. By doing this, Foley said each group can introduce their fans to each other.

The first two bands to play were Plastic Sun and Curb Alert, who had never played a venue like Songbyrd. But this fact was not obvious when they took the stage. Plastic Sun played their “psychedelic indietronica”, which is best described as an electronic, dreamlike sound with an ethereal quality. The crowd seemed enchanted and drawn to the stage by the music.

“For my first performance, I’m very, very happy,” said Appelson, who is a junior biology student and the lead singer of Plastic Sun. “We’re chiller music, and they seemed to take it to the next level.”

Jeff Draco performs at the WMUC festival at the Songbyrd Music House in Washington, DC on August 25, 2022. (Riley Sims/The Diamondback)

With Curb Alert next, all restraint was gone for those who jumped into the mosh pit. This was especially true when the band played a song dedicated to all the baristas in the audience.

“The crowd was really amazing,” said Curb Alert bassist and vocalist Noah Drajem. “They had great energy throughout the set, which was super nice, and that’s always what makes gigs fun as a band.”

Foley said he was initially worried that people in a bigger room wouldn’t have the same attitude as those in a DIY show. This fear turned out to be wrong.

“The pit was active, and it was fantastic,” he said.

The next three musical acts were more established artists from the regional music scene. Makeup Girl, run by brothers Brody and Avery Steck, put on quite a show for the already pumped-up audience. Their songs mostly sounded like a mix of rock and R&B, but the Steck brothers said they were inspired by so many different influences that they simply called their sound “music.”

Makeup Girl moved people like previous groups, but this time with a sense of style that comes with experience and a strong sense of identity. Brody seemed confident and comfortable behind his keyboard, as did Avery as he strummed his shirtless guitar in front of the crowd.

Then came Jeff Draco, known behind the scenes as Jeff Gilman and an alumnus of that college, Draco had a sense of energy for the theater unmatched by other musicians. Her mix of dream pop and indie rock songs had dancing, hugs and even singing.

Draco has previously performed at Songbyrd and was on stage for the venue’s reopening at its current location. He described his previous performance there as electric and said his last time at the old Songbyrd location was a gig where he performed with Deep Sea Peach Tree.

“It’s good to be back,” Draco said. “It’s like a meeting.”

Last came the headliner, Deep Sea Peach Tree. Described as sleepy surf rock by guitarist, singer and songwriter Kristof Denis, the band’s music seemed like a natural progression from Draco’s upbeat dream pop. Their softer, even more dreamy sound seemed to have helped end the night as the audience became more relaxed as the clock ticked closer to midnight.

After the music festival ended, WMUC staff expressed their joy at the success of the event.

“It went way better than I expected,” Szymanski said. “I think it was a really fun mix of genres that was representative of the WMUC community and the UMD community as a whole.”

Appelson said WMUC should do something like this again.

“If I’m still GM next time and it’s time to do it, I do it,” he said.

The musicians seemed to have the same feeling. Josh Poggioli, a college alumnus and keyboard player for Draco, said before the show started that he thought it would be the start of something really cool. Afterwards, he said the main meaning of it all was to give students a taste of the “DC experience”.

“The college scene is so cool,” Poggioli said. “It’s very important, especially at college, because there are so many different people from all over who come to this hub of DC.

Although the music festival was organized by a university radio station, there were members of the public who were not associated with the university at all. Eliza Fletcher and Maddie Cook, two friends who weren’t students, came to the event and said they loved it. They said they look forward to future WMUC events in Washington, D.C.

“We would come to all of them,” Cook said.

“Everyone,” Fletcher added.

After the music festival was over and almost all of the attendees had left, the members of the Curb Alert group still stood in front of the white walls of Songbyrd and reflected on their night. Their final thoughts were about the people who came to listen to their music.

“Well done to the crowd and thank you,” Drajem said. “You really made the show great for us.”

Disclosure brings Sam Smith to All Points East – Reuters

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Disclosure, James Blake, Charli XCX and HER have the crowd dancing with their electronic anthems as Luno Presents All Points East 2022 continues into its second weekend in east London with its biggest show ever.

Chained by pyrotechnic explosions, the Disclosure dancers unleashed their stack of heart-pounding, club-knowing singles onto a sold-out All Points East festival crowd. The heart-pounding beats and rave-inspired electronics the Lawrence brothers are known for rocked The East Stage. There were many highlights. The UK garage flava of RAYE’s recent collab “Waterfall” thrilled, the rush of their Zedd collab “You’ve Got To Let Go If You Want To Be Free” thrilled, and the underground pulse of “When a Fire Starts to Spread” had hands waving in the air.

By the time Disclosure released Sam Smith for the pair’s mega-hit “Latch,” all resistance was futile. “This is the first time we’ve done this in five years,” they said as Smith left the stage.

Finishing off with streamers rolling through the crowd and a fanfare for the Rio-infused Tondo, that high octane rating cemented Disclosure’s place as the UK’s premier dancefloor banger supplier. Mission accomplished.

Fred Again… packed The North Stage to bursting point for the British instrumentalist and producer’s must-see set. “I want to say thank you very much for being here. I’m not lying when I say I’m screwed. We actually released the first single a year ago and it’s an honor to be able to play it for you tonight,” he said gratefully. Hip fans took him to another level when Mike Skinner of The Streets joined him on stage.

Dynamic and haunting, James Blake’s brand of ethereal, live electronica brought relaxing late-night vibes to the west stage. He prefaced a haunting rendition of lead single “Retrogade” telling the crowd it was his “favorite.” The spectral beauty of the London artist’s catalog offered an intoxicating experience. When he dipped into the catalog of others, he did it alone, taking center stage for a simmering solo version of Joni Mitchell’s “Case Of You” while bathed in white lights. Blake has proven he has an unrivaled knack for making the largest of spaces feel intimate.

Charli XCX’s talent for sculpting invigorating pop in 24k gold was on full display when she took the stage on The East Stage. The unstoppable charge of “I Love It” united the entire field in an instant, and his set was an impressive feat of endurance, ensuring levels never dipped during a 60-minute set. The lyrical choreography accompanied a parade of hits that included recent singles “Hot In It” and “Good Ones.” The singer dedicated ‘Boys’ to “all the gay boys in the crowd”, before launching a dedication to the girls for ‘Vroom Vroom’. It was a high-octane, arms-raising journey through 21st-century pop heaven. Charli XCX left the stage with one last irreverent request: “Make some noise for me, bitch!”

“It’s one of my favorite cities in the world,” enthused Californian musician HER. “London is still one of the best crowds,” she beamed. During his performance, the artist donned an acoustic guitar for a spellbinding ‘Cheat Code’, followed by ‘Best Part’. HER then showcased his virtuoso guitar skills, both soloing and tapping on “Hard Place.” A version of Joan Jett’s “I Love Rock and Roll” was interpolated with Queen’s “We Will Rock You” before turning into an exuberant “Glory”. A cover of Lenny Kravitz’s “Are You Gonna Go My Way” was also featured.

Where HER brought a pinch of heaven, Freddie Gibbs brought a delicious dose of the devil. Gibbs’ razor-sharp rap alternated between intense, breaking hardcore and laid-back, offbeat hip hop. The lyrical rental thread of “Scottie Beam” and “Crime Pays” was among the highlights.

Earlier, Koffee’s Grammy-winning mix of dancehall and reggae glided like fine wine onto the Eastern stage. Playing in front of an exceptionally large crowd at the start of the evening, and augmented by an exceptional group, the singer brought a carnivalesque spirit to the festival. “West Indies” and “Pull Up” were released from the artist’s 2022 album, Gifted.

On the West Stage, West Coast artist Channel Tres got the crowd dancing in the afternoon sun with a set of hip house beats suitable for the dance floors. The likes of “Sexy Black Timberlake” ensured the members were loose and morale was high.

The East Stage has also hosted the jazzy, articulate and invigorating sounds of South London, ENNY. With a sound reminiscent of late 90s RnB filmed through a contemporary lyrical filter, it was a cocktail that proved a huge hit. She said the occasion was “sentimental”, having performed on a smaller stage the previous year. Pending anthems such as “Same Old” and “Peng Black Girls” signaled that the path to even higher billing is in sight for this bright new British voice.

Other highlights of day five included Joy Orbison, Shy FX and Lola Young, while Jubilee’s infectious club beats kicked off the day on The 6 Music Stage.

NERO remixes deadmau5’s recent single “XYZ”

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NERO Remixes Deadmau5’s Hit ‘XYZ’: Listen

NERO is preparing to hit the road with Deadmau5 for the We are friends tour from September to December, with stops across the United States. With the tour set to begin September 17 in Buffalo, New York, the band remixed Deadmau5’s X Y Z in anticipation of the trek to come.

NERO, who are best known for their single promisesas well as the popular remix of the same track by Skrillex, have been relatively quiet on the music front since the release of their second album, Between II worldsin 2015. The new X Y Z remix will be presented on the next Mau5trap We are friends, Vol. 11 label compilation, which is a continuation of the long-running mix series and is set to drop in early 2023. For the remix, NERO used the synth elements that defined Deadmau5’s original version of the track, and tweaked it slowed down a bit, while adding more of an ethereal feel to the mix and production. The single stays true to many elements of the original, while delivering the energy and feel that made NERO stars in their own right on the electronic music scene.

While the new remix is ​​certainly exciting for fans and a great way to build anticipation for the upcoming tour, it merely serves as a placeholder and reminder that it’s been over a year since the band mentioned working on her third album via social media. Hopefully that means the trio have been in the studio, finishing up tracks as they prepare for fall tour dates. For now, fans should enjoy the XYZ (NERO Remix) and buy tickets for the We are friends tour now before it starts next month. Check out the full routing and support acts below.

Deadmau5 Presets We Are Friends Tour Dates are:

Saturday September 17 – Buffalo, NY – Outer Harbor Buffalo ^#
Friday, September 23 – Chicago, IL – Huntington Bank Pavilion at Northerly Island ^
Saturday, October 01 – Cincinnati, OH – The Andrew J Brady Music Center (inside) ^#
Saturday, October 08 – Indianapolis, IN – TCU Amphitheater at White River State Park ^#
Saturday, October 15 – Phoenix, AZ – Arizona Federal Theater ^#+
Friday, October 21 – San Francisco, CA – Bill Graham Civic Auditorium ^# –
Fri Nov 04 – Denver, CO – Red Rocks Amphitheater* ^+
Saturday, Nov. 5 – Denver, CO – Red Rocks Amphitheater* ^+
Saturday November 12 – Dallas, TX – The Toyota Music Factory Pavilion ^ Sunday, November 20 – Austin, TX – ACL Live ^+
Fri Nov 25 – Houston, TX – 713 Music Hall ^+
Friday, December 16 – Boston, MA – MGM Music Hall at Fenway ^# –

Image credit: NERO (Press) / Provided by Falcon Publicity

Dive Into “A Shape Of Sound” With Opiuo’s Fifth Album

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Photo credit: Connor McKeen


Embark on the sonic journey of a lifetime listening to Opiuo’s latest earth-shattering release, A form of sound.


Those who were lucky enough to experience the contagious groove Opiuo brings to his music, everyone agrees that it is a one-of-a-kind experience. The Australian producer brings a whole new level of creating a type of signature sound with mixtures of fiery drum pads, slurping synths and pleasing bass lines. Over the years, fans have thrilled at his releases like SYZYGY and “martian marchas well as remixes like “Heya” and “Higher Together” – not to mention the unforgettable live experience at Red Rocks.

Now Opiuo is back with high experience with their new full album, A form of sound. Her fifth album sums up her transformation into a full-fledged electronic superstar, with tons of new styles, features and production techniques mixed into her energetic vibe. There is a nostalgic essence that breaks boundaries A form of sound brings to the table, blending elements that brought him to the stage with the greatest scholarly mastery of his musical career. Along the ride are fan-favorite features like Eric Benny Bloom of Salad and The Big Giants own Dominique Lalli.

The first track, “flapjackwraps you around with its echoing siren and soars into that familiar bass beat you’d sink into during an Opiuo set. “Lasso” comes next and offers something different with an element of mystery like Elika brings gorgeous vocals to pair with creeping desire and fleeting synths. “To shiver” comes hot with Eric Benny Bloom as both deliver a mix of bass-heavy bounces, deep psychedelia, and extremely funky riffs. And in classic Opiuo style, Humphrey dumpling brings those glitch hop vocal chops paired with the deep, techno-heavy beat that takes you back to the Omniversal days.

Gravitate” with Jordan Denis is one of the standout tracks on the album with its dense groove essence and hip-hop elements, while “Particle dance interlude” gives off darker 80s synthwave vibes, transporting listeners straight into an episode of stranger things. Stick in to let Opiuo take you straight into the beauty of the album’s second single, “Dopaminewhich features his wife on vocals and a catchy, warehouse-style beat. “Front2Rear” is a track without limits from the start, with a fast rise in a crazy style of sliding and flowing bass waves.

Another of the shining leads on A form of sound is “Plutowith Dominic Lalli, who shines with a mix of chill saxophone and electronic synths that synchronize in harmony. “find your way” is a classic heater from start to finish, and “endless dream” with MOON and ZIV presents a different style of rhythm with a strong influence of drums and bass in a perfect syzygy with the rest of the track. This creates a cooler, elevated environment before Eric Benny Bloom arrives again on “To escape” to carry out this sonic journey.

Follow Opiuo on social media to stay up to date with their latest releases and tour dates, stream A form of sound on your favorite platformand let us know your thoughts on Twitter!

Stream Opiuo – A form of sound on Spotify:


Opiuo- A form of sound – List of tracks:

  1. flapjack
  2. Lasso (feat. Ellika)
  3. Quiver (with Eric Benny Bloom)
  4. Humphrey dumpling
  5. Gravitate (with Jordan Dennis)
  6. Particle Interlude
  7. Dopamine
  8. Front2Rear
  9. Pluton (feat. Dominic Lalli)
  10. find your way
  11. Endless Dream (with MOONZz and ZIV)
  12. Take Flight (feat. Eric Benny Bloom)
Opiuo A form of sound

Follow OPIUO on social media:

Website | Facebook | Twitter | instagram | SoundCloud

Lindsey Stirling announces “Snow Waltz”

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Lindsey Stirling, “Snow Waltz” (Image courtesy of Shore Fire Media)

Fri. August 26, 2022 6:00 p.m.

New Christmas album out October 7 via Concord Records

√ New festive single, “Ice Storm”, out now

On Thursday, award-winning pop violinist Lindsey Stirling announced her new Christmas album, “Snow Waltz.” It will be released digitally on October 7 and on vinyl on November 18 via Concord Records.

Featuring eight classic covers and five original tracks, “Snow Waltz” delivers Stirling’s immersive arrangements and haunting melodies – but with a seasonal twist – with songs that promise to be the perfect soundtrack for the holiday season.

“I wanted to give the songs a whimsical, leprechaun-like feeling that sounds like me,” Stirling said of the new record. “It’s always a challenge to put your own stamp on a classic song that’s been recorded hundreds of times, and I absolutely loved experimenting with different approaches and making sure each song was completely unique to who I am as a than an artist.”

To accompany the announcement, Stirling shared the project’s first single “Ice Storm”. An original, guitar-fueled and wildly catchy instrumental, the song sheds new light on the multi-faceted musician’s rock sensibilities. The “Ice Storm” video features a paper-cut collage of a pack of wolves chasing a young deer, running for its life to escape danger.

Listen to “Ice Storm” here: https://found.ee/LS_IceStorm

LOOK:

Pre-order/pre-register “Snow Waltz” here: https://found.ee/LS_SnowWaltz

Recorded in Los Angeles with Gladius (longtime Grammy-nominated producer with credits such as Demi Lovato and Justin Bieber) executive producer, “Snow Waltz” evokes a delightfully eerie vibe, fully embodying the boundless imagination at the heart of the Stirling art. The title of the album was born from the reflection on the period between Halloween and Christmas where the two seasons overlap.

“I wanted to create something in the same world as ‘The Nightmare Before Christmas’ or the ‘Harry Potter’ movies, where there’s a kind of Christmas feeling alongside all the creepiness,” Lindsey explained.

And the song “Snow Waltz” is just that, rooted in his ineffably expressive violin work and adorned with plenty of cinematic detail, including dark percussion, singsong flute melodies and bright, lively glockenspiel tones.

When it came to reinterpreting timeless holiday songs, Stirling tapped into his own boundless and unfettered ingenuity. On “Joy to the World,” she teamed up with Gladius and orchestrator Stephen Anderson to create a glorious Celtic-inspired version of the 18th century Christmas carol. One of the most left-wing moments on the album, the “God Rest Ye Merry Gentlemen” beat features Stirling’s frantic violin alongside his hypnotic, celestial vocals and was produced with Mark Maxwell. For her flamenco-infused rendition of José Feliciano’s “Feliz Navidad,” she enlisted the guitar skills of fellow countryman Mark Ballas (a dancer/choreographer/musician/actor who was her partner on the 25th season of “Dancing with the Stars”).

Although the set of “Snow Waltz” carries a powerful emotionality, songs like “Magic” ft. David Archuleta have a particularly powerful meaning for Stirling. One of the album’s many voice-activated original numbers (along with “Crazy For Christmas” ft. Bonnie McKee and “Christmas Time With You” ft. Frawley), the bittersweet but uplifting ballad was sparked from t a profound moment in Stirling’s life, when his sisters and mother shared fond and amusing memories around the passing of his father.

The sequel to her debut holiday album “Warmer in the Winter” – which earned her a No. 1 spot on Billboard’s Holiday Albums chart and No. 1 on Amazon and iTunes Holiday Album Charts – “Snow Waltz” emerges as a singular new entry into the canon of holiday music, proving once again Stirling’s extraordinary gift as an instrumental storyteller.

Lindsey has launched an annual campaign, “The Upside Fund,” around each holiday season to help families in dire need of support during a medical crisis. She has partnered with medical companies such as RIP Medical Debt, Resolve Medical Bills and Dollar For to pay off over $4.5 million in medical debt and bills nationwide.

Stay tuned for more information on this year’s campaign and find more information here.

Lindsey Stirling (Image courtesy of Shore Fire Media)

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Since releasing her debut album in 2012, Stirling has established a successful career as an electronic music impresario, violinist, dancer and entertainer. She has humbly become one of the most innovative stars of the 21st century. His groundbreaking vision has earned him millions of adoring fans worldwide, four Billboard chart-topping albums, and two Billboard Music Awards (including Top Dance/Electronic Album for his third studio release, “Brave Enough”).

Her holiday album, “Warmer in the Winter”, catapulted to number one on the Billboard, Amazon and iTunes holiday album charts upon its release. Lead single “Carol of the Bells” made history as the only instrumental song to reach AC Radio’s Top 10.

Stirling has amassed over 12.5 million subscribers, nearly 3 billion views on YouTube, 3 million subscribers on TikTok, and over 500,000 user-generated creations on TikTok and Instagram reels. On top of that, Forbes placed her at number 4 on its list of highest earning YouTube stars in the world in 2015.

Her fifth studio album, “Artemis,” debuted at No. 1 on the Dance/Electronic Albums chart.

Stirling has performed for over 800,000 people on his headlining tours, and his co-headlining tour with Evanescence was named one of Live Nation’s best-selling amphitheater tours of 2018. .

For more on Lindsey Stirling:

Madame Gandhi shares her new single “Crystals & Congas”

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Artist and activist Madame Gandhi returns with a new single inspired by global percussion “Crystals & Congas”.

“Crystals & Congas” is the first of a new batch of music coming from Madame Gandhi later this year.

Written by Gandhi, the captivatingly rhythmic song is an energetic rumination on the importance of staying conscious, healthy and empowered that centers his strength as a lifelong percussionist.

“‘Crystals & Congas’ came out of a music production workshop I was doing at the I/O Music Academy in Hollywood, California,” says Madame Gandhi. “I was working on a beat that incorporated live percussion and drums and I ended up really loving the triplet and the fast rhythm feel. I knew I wanted to expand on it and make it into a song, and that was a joy to partner with my friends Ebonie Smith and Amanda Warner (MNDR) to take her to the finish line.

The original filename of the beat was titled “Crystals & Congas”, so I wanted to honor that and shape the theme of the song around those healing modalities that have helped me tremendously during the pandemic: meditation, nature, music and personal healing. . The lyrics reflect lessons I’ve learned that allow me to walk as a kinder, more empathetic, and more peaceful person on the planet. My hope is that when my audience chants these lyrics, they will experience them as mantras that clear the mind, call for more love, and inspire more service.”

Madame Gandhi will bring “Crystals & Congas” to her dynamic and powerfully assertive live sets at Pridefest Oakland 2022 in Oakland, CA on September 11 and Durham Pride Celebration in Durham, NC on September 24. For more details and ticket information, please visit: Pridefest Oakland and Durham Pride.

Madame Gandhi was recently quoted by Wired Magazine UK as approaching her career with an “entrepreneurial mindset”, having “innovated in the use of data to inform some of her strategic choices as an artist. In short, she conducts its career like a startup”.

Following the release of her previous albums Voices (2016) and Visions (2019), Madame Gandhi spent time during the pandemic completing a master’s degree in music, science and technology at Stanford’s Center for Computer Research in Music & Acoustics, where she learned to build his own underwater microphones and began recording whales, dolphins and more to create electronic beats and sample his music.

Earlier this year, Gandhi traveled to Antarctica where she put her newfound skills to good use recording the sound of melting glaciers in a bid to build empathy around climate action and instill that inspiration and these sounds in his new music.

Madame Gandhi is an award-winning artist and activist known for her upbeat, hard-hitting electronic music and her positive message of gender liberation and personal power. She started producing music in 2015, after her story of running the London Marathon to fight menstrual stigma went viral around the world.

She was listed as Forbes 30 Under 30 in Music, and her 2020 TED Talk on Conscious Music Consumption has been viewed over a million times. His video for the track “Waiting For Me”, shot in Mumbai, India, won the Music Video Jury Award at the SXSW Film Festival in 2021, and his 100% Organically Sourced x Sound MANA natural sound pack won the New Wav at the 2021 Splicing Awards.

In June 2022, Gandhi completed a Masters in Music Science and Technology at Stanford University’s CCRMA, where she spent time in Antarctica sampling the sounds of melting glaciers to create empathy and a awareness around climate change.

Listen to the new single here:

Debt consolidation in times of uncertainty

“Under the right circumstances, shifting increasingly expensive short-term debt to longer-term, lower-rate duration can help reduce monthly expenses, at a time when every little bit counts.”

The research was conducted among 2,068 UK adults in June 2022, 58% of whom were homeowners, of whom 25% also had an unsecured loan.

It revealed that the vast majority (78%) of UK homeowners found themselves spending more on living costs than six months ago. Three in 10 (30%) of those with revolving credit, including credit cards, store cards and overdrafts, said they had an average balance of almost £3,000 and had seen their rates rise over the course of the same period.

Overall, our research found that around 12.7m UK homeowners could face an average increase of over £750 in annual interest rate payments on revolving credit, with 3.8m seeing a increase of over £60 per month.

With the two pinch points of the rising cost of living and more expensive credit, and an average balance of £8,738.90 per owner for revolving credit and unsecured loans, such as car loans, the moment may have come for savvy spenders to consider debt consolidation. .

Not a last resort

For many, the term “debt consolidation” can carry negative connotations, suggesting an unmanageable or poorly managed amount of debt, and a person in dire straits. Indeed, our research found that only 30% of people with outstanding debt would consider consolidating it into a single loan, while 45% said they wouldn’t see it as an option at all.

However, far from being a matter of desperation, with much of the UK dependent on unsecured credit, rising rates and the economic outlook looking constantly bleak, it is simply a matter of good money management .

While no financial solution is perfect for every client, under the right circumstances, shifting increasingly expensive short-term debt to longer-term, lower-rate duration can help reduce expenses. monthly, at a time when every little gesture counts. There’s also the added benefit of streamlining all additional fees and charges and having one easy-to-manage payment per month, reducing the risk of complications or missed payments.

A homeowner can use their home’s security in a number of ways in this situation, including re-mortgaging to raise capital to pay off debts, but the best option may be second mortgages, as this allows borrowers to stay on a potentially more favorable market. first rate of charge while enjoying the equity accumulated in their home.

At Pepper Money, the average median salary among our second charge clients who take out a debt consolidation loan is £53,900. These are high-income earners who take proactive steps to ensure their continued financial stability, in addition to potentially boosting their credit ratings, while leaving a safe buffer of equity in their home.

While there is risk with any form of borrowing, Pepper Money prides itself on taking a careful and thoughtful approach, backed by humans and technology working together to deliver positive results for clients.

In this time of uncertainty, this is an opportunity to make the most of the continued stability in the housing market, leveraging the power of home equity to gain some breathing room. With rising inflationary pressures, now is the time to find out if secondary debt consolidation is right for your clients.

Nyege Nyege Festival 2022: bigger and dreamier

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After a two-year hiatus, the Nyege Nyege Festival has returned to Uganda in a brand new location to enjoy marvelous performances on its roster for one of the most innovative electronic events in the world.

How time flies… Just a month after the end of the Nyege Nyege Festival in Paris, the unhinged crew are already warming up for East Africa’s biggest festival. Last July was just a taste of what is to come in Uganda next September, an immersive dive into the Nyege Nyege universe. For this 2022 edition, they have decided to move the festival grounds to a more idyllic place. This year’s festivities will take place from September 15 to 18 on the banks of the Nile, near Itanda Falls, in the heart of the Busoga region, a few kilometers from the city of Jinja in Uganda.

In its infancy, the Nyege Nyege festival began with Boutiq Electronique parties launched at the late-night Tilapia club by Derek Debru and Arlen Dilsizian in 2013. It later evolved into a full-fledged festival with its first iteration held in 2015 at a abandoned seaside resort in Jinja. He focused on reconciling African genres with electronic music, instilling a constant need for innovation with Nyege Nyege’s trademark, “uncontrollable urge to dance”. Despite some backlash from the surrounding community for the collective’s unwavering support for the LGBTQ+ community, the 2019 edition was a definite success and that’s why it was especially excruciating to wait for the next installment of the festival.

The only relief was Nyege Nyege’s raucous presence on the electro scene, always introducing exciting new sounds and up-and-coming artists (Kabeaushé, MC Yallah, Ecko Bazz in Music for the Eagles) with a drive to keep the momentum strong, participating in several events with stages in Glastonbury, Primavera, Roskilde, Dour, at Garage Noord in Amsterdam and in Paris last July. Over 200 shows showing the extent of the Nyege Nyege craze which will culminate at this year’s reunion. The urge to dance couldn’t be stronger.

The patience of the fans seems, indeed, to have been rewarded. Beyond the dream location, for its 7th edition, Nyege Nyege has seen fit to prepare a line-up of colossal proportions with more than 300 artists programmed. The crew who came to see us in Paris will of course be there. It includes Turkana, R3ign Drops, Flo, Otim Alpha, Questōonmarq, Flo, Hibotep, DJ Diaki, De Schuurman, PÖ, among others. Nyege Nyege’s commitment to discovering the next big thing will manifest itself with the presence of recently introduced artists, such as Chrisman, DJ Travella, YUNIS and DJ Skothane, all featured on the compilation The Spirit of Nyège 2020. Watch out for Kenyan rapper Boutross, also featured on the album, and Ghanaian-Nigerian diva Adomaa too!

Find more information directly on the festival website.

Festivals, Hits, and Mother Nature: Dom Dolla and the Puzzle Pieces of a Defining Year for His Career – EDM.com

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Performing for the first time at some of the best music festivals in the world is no small feat. Doing them all in a row in a few months is even more difficult.

Dom Dolla is one of the few DJs to have lived this ineffable journey, where he sprinkled a few miracles along the way.

The barnstorming house music artist and producer of “Miracle Maker” has certainly made an impression this year while enjoying unique experiences, like DJing through a freak snowstorm that hit his first performance at Red Rocks. These kinds of extraordinary events have become commonplace for Dolla, whose career is growing at a breakneck pace as he achieves one milestone after another.

We caught up with the Aussie in breakout groups to dig deeper into the puzzle pieces that came together to form his career-defining year.

Dom Dolla performs at Coachella Valley Music and Arts Festival 2022.

EDM.com: On April 24, you did a “B2B with Mother Nature” at Red Rocks Amphitheater in Colorado. Can you explain to us this unforgettable evening and what exactly happened – or happened – that night?

Dom Dolla: That night, I just arrived from… I don’t remember where I came from. But, I was very sleep deprived. And I think we had to beat some kind of weather system that was in the middle of America – where we were from – and I was like super stressed not to sleep. We landed in the morning and when I fell asleep the show still wasn’t sold out, the weather was really gloomy and all my Australian friends said they couldn’t come. I was kind of like, “Well, it’s not going to be what I expected.”

But by the time I woke up, the show was sold out, the weather had cleared up, and all my friends were there. It felt like the best day of my life. My little sister also came and some of my closest friends from high school, some of my team back in Australia who hadn’t left Australia since Covid. It felt like the most amazing night of my life, to be honest. It was phenomenal. And then the snow started falling halfway through the set as we turned on the lasers and it was just unforgettable.

I wanted to play in this room since I started DJing and writing music. Making the headlines was one thing, and then having such an unforgettable moment, surrounded by people so close to me, it was, you know, the icing on the cake.

EDM.com: At the time, you said it was the best set of your life and the biggest headlining show of your career. It’s remarkable how quickly you’ve eclipsed this achievement over the past three months. After Red Rocks, you went to EDC Las Vegas, where you performed in front of 90,000 people on the main festival stage. Did you know you were going to perform at kineticFIELD?

Dom Dolla: I found out what stage I was playing at the last minute. I don’t know if my agent knew about it and decided not to tell me so I wouldn’t panic…but I had the time to prepare.

I DJ a lot. And I’ve been playing in front of big crowds for a few years now – I mean 5,000 to 10,000 people, sometimes 20 – but playing in front of 90,000 people… I’m not really nervous but my heart was playing psytrance in my chest.

As soon as I started, everything disappeared.

It felt like I was where I belong. This was decisive for my career. I never thought that kind of house and techno sounds would ever make it to the main stages at big dance events like EDC. And seeing that happen is so exciting. Even on the weekends I was talking about Tomorrowland and the idea that this kind of “center-left dance music” is now on the main stage of the biggest festivals in the world is so exciting.

I’m so excited about the future of dance music. The genre lines get so blurry and the scenes get so much less defined. Everyone has more fun, I think. Doing what feels right and being true to yourself as an artist is what I think is really important too. As opposed to “the crowd wants this, let’s give them this”. But it’s like, “What the crowd doesn’t know they want, but they’re going to love when they get it?”

EDM.com: How long have you had “Miracle Maker” in your back pocket?

Dom Dolla: I started working on [“Miracle Maker”] last year, I believe. I was playing instrumentals for months before teaming up with Clementine Douglas to work on vocals. With the instrumental, everyone was like, “What the fuck is that?” Then I was like, “Okay, well, if that’s how it’s received as it is right now, how much could we upgrade it?”

I’ve never had a record that works every time. Any of my past records, they “failed” in the DJ context in one way or another. But “Miracle Maker” was one of those records for me that worked every time. And then the artists started flirting with me and all my friends were like, “Give me that. I’ve never had so many people asking for it either.

I’m so grateful that everyone is participating in it and it seems to take that natural momentum. It’s inspiring for me, as a writer-producer.

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EDM.com: How did you meet Clementine Douglas?

Dom Dolla: I was introduced to her by my brilliant friend who is a singer-songwriter named Caitlyn Stubbs. We were doing writing sessions and she was like, “You have to meet Clementine, a friend of mine,” and she just brought it to the studio.

We all started writing records together. We wrote so many songs together, a lot of them from scratch and a lot of them just vocals. I’m probably better at melody than production in a lot of ways. I connect really well coming into the studio with other writers.

[Douglas’] the vocals were perfect for that kind of nostalgic ’90s R&B sound. So when we recorded it, I was like, ‘Clementine needs to be on this, we don’t need anybody else.’ They say the fastest are the good, and this one was fast.

EDM.com: Kicking off July in style, you performed at the Brooklyn Mirage in New York City, selling out your first show at the 80,000 square foot venue. Can you tell us more about this show?

Dom Dolla: New York is up for a good time and they like to party late. I know that on the east coast the permit opening hours are much later than on the west coast. When I saw my set time at 2am, I thought to myself, “I feel like I’m playing in Miami or Ibiza… I’m so up for it.

I was having the time of my life for sure.

EDM.com: Without a shadow of a doubt, this has been your biggest summer show streak yet and you’re still going strong. After being in Brazil, Chile, Ibiza, Italy, Romania and now Canada, among others, what do you do to stay centered and on track while constantly being on the road?

Dom Dolla: Sleep at every given opportunity. And also surround myself with people I love. I work with people I have known for a very long time and they have become my closest friends. I’m always surrounded by my friends, basically.

My tour manager is my best friend Harry, we’ve been best friends since we were 14. He studied logistics and ran a travel agency and it was so perfect. I was like, “You have to come and be my tour manager.” And my manager James has been my manager since the beginning, since I was 19 or 20. He was a DJ and we have very similar musical tastes. We were part of the same group of friends. Everything is easy.

Surrounding myself with friends and loved ones makes this job a breeze.

EDM.com: So you have met “God”. How was it?

Dom Dolla: Yes, Tiesto. It was amazing. Obviously, he’s basically one of the founding fathers of modern dance music as we know it. I’m such a fan of his old classics and got to the point where on my social media I was trying to turn him into a god and then he got it. Then he got my number and we started texting saying, “We absolutely have to meet.”

We ended up at Tomorrowland and it was very funny. Everyone was just in stitches. The whole Tomorrowland production team, my whole team, his whole team, everyone is laughing before we’re even connected. It was gold.

He’s such a lovely guy. No one stays in an industry for long without being truly dedicated to their craft and being a good person. Yes, he was really welcoming.

EDM.com: Although you’ve had a remarkable festival so far, performing at Ultra Miami, Coachella, Tomorrowland and many more, the momentum continues. What upcoming shows are you looking forward to?

Dom Dolla: I’m excited to be back at Space in Miami at the end of September. Oh! Play at the shrine. I’m doing my own headlining show at the Shrine in LA, I’m really excited for this one. I did a co-headline with Sonny Fodera right before Covid… and it was one of my favorite shows. So I’m excited to participate in this one as a solo exhibition and play at night.

I’m also excited to be back home in Australia and playing a few gigs. Since Covid, I haven’t really played in my home country and that is long overdue. Hometown shows are always the best shows. Just the ambiance is incomparable. We’re about to announce a bunch of festivals and shows this summer in Australia. It’s gonna be fun. Fortunately for me, I live an endless summer.


You can catch Dolla on round across Europe, North America, New Zealand and Australia for the remainder of the calendar year.

FOLLOW DOM DOLLA:

Facebook: facebook.com/domdollamusic
instagram: Instagram.com/domdolla
Twitter: twitter.com/domdolla
Spotify: spoti.fi/3g2cuTm

Debt Consolidation Market to Record Healthy Annual Growth Rate to 2028





The most recent research report on the Debt Consolidation market provides stakeholders with a comparative advantage by displaying the overall economic growth evolution from 2022 to 2028 through an in-depth inspection of historical and current developments. Moreover, the predictions in the report are determined by research teams using tested methodologies. Besides, critical information obtained from several outlets, it also contains a variety of proposals to promote industrial expansion through the advancement of corporate strategies.

The report elaborates more on the major development trends that will shape the industry's profitability pattern over the estimated timeframe. It also mentions the industry's challenges and opportunities as well as ways to reduce their ramifications. Furthermore, it considers market sub-divisions to establish the overall scope and size of the landscape.

Market segmentation and coverage

Request Sample Copy of this Report @ https://www.newsorigins.com/request-sample/52183

Product range:

  • Credit Card Debt
  • Student Loan Debt
  • Medical Bill
  • Apartment Leases and Others

  • Past data along with estimates regarding growth rate, revenue share, and compensation are presented in the report.

Application spectrum:

  • Company
  • Personal
  • By company
  • Goldman Sachs
  • OneMain Financial
  • Discover personal loans
  • loan club
  • Pay
  • Debt Relief Freedom
  • National debt relief
  • Rescue One Financial
  • ClearOne Advantage
  • New era debt solutions
  • Pacific Debt
  • Approved Debt Relief
  • CuraDebt Systems
  • Guardian Debt Relief
  • Debt negotiation services
  • First Debt Help
  • Oak View Legal Group
  • By Region and North

  • Historical information and projections of product demand, CAGR, and market share of each application field are mentioned in the study.

Regional bifurcation:

North America

Europe

Asia Pacific

Latin America

Middle East and Africa

  • Along with the growth rate forecasts, the report contains records of the overall revenue and sales obtained by each regional market.

Competitive Landscape Summary

  • Goldman Sachs OneMain Financial Discover Personal Loans Lending Club Payment Freedom National Debt Relief Debt Relief Rescue One Financial ClearOne Advantage New Era Debt Solutions Pacific Debt Accredited Debt Systems CuraDebt Systems Guardian Debt Relief Debt Negotiation Services Premier Debt Help Oak View Law Group By Region North America United States Canada Europe Germany France United Kingdom Italy Russia Nordics Rest of Europe Asia Pacific China Japan South Korea Southeast Asia India Australia Rest of Asia Latin America Mexico Brazil Rest of Latin America Middle East and Africa Turkey Saudi Arabia United Arab Emirates Rest of MEA

are the distinguished entities that shape the competitive environment in the debt consolidation industry. Companies are profiled based on their profits, revenue, payment system, market portfolio, and tactical moves. Accordingly, the section highlights the procedures that vendors can use to outperform their competitors over the projected period through successive mergers and acquisitions, product launches, R&D and global coverage.

Industry Value Chain Analysis Overview

The industry value chain model, which focuses on manufacturers, customers, and sales channels, definitely aims to help companies reduce costs at each stage of the product/service life cycle while delivering quality and value to the heart of the people.

FAQs-

  • Which companies represent the competitive scope of the Debt Consolidation market?
  • Which regions are assessed in the Debt Consolidation report?
  • What are the key segments of the Debt Consolidation market?
  • How is the debt consolidation market expected to grow during the period 2022-2028?

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Consumer and Business Debt Consolidation Market Size to Register Substantial CAGR 2022-2028





Forecast to be a highly lucrative business vertical, the Consumer and Corporate Debt Consolidation Market has been projected to accumulate modest proceeds by the end of the projected timeframe. Incorporating a concise analysis of the Consumer and Corporate Debt Consolidation Market in meticulous detail, the Consumer and Corporate Debt Consolidation Market research study aims to deliver valuable insights with reference to factors such as market size, revenue forecast, sales volume, and others. The segmentation of the Consumer and Corporate Debt Consolidation Market as well as the driving forces impacting the industry landscape are categorically provided in the report.

The most recent research report on the Consumer and Corporate Debt Consolidation market provides stakeholders with a comparative advantage by displaying the overall economic growth evolution from 2022 to 2028 through an in-depth inspection of historical and current developments. Moreover, the predictions in the report are determined by research teams using tested methodologies. Besides, critical information obtained from several outlets, it also contains a variety of proposals to promote industrial expansion through the advancement of corporate strategies.

The report elaborates more on the major development trends that will shape the industry's profitability pattern over the estimated timeframe. It also mentions the industry's challenges and opportunities as well as ways to reduce their ramifications. Furthermore, it considers market sub-divisions to establish the overall scope and size of the landscape.

Request Sample Copy of this Report @ https://www.newsorigins.com/request-sample/52184

Market segmentation and coverage

Product range:

  • Credit card debt
  • Student loan debt
  • medical bill
  • Apartment leases and others
  • Past data along with estimates regarding growth rate, revenue share, and compensation are presented in the report.

Application spectrum:

  • society
  • Consumer
  • By company
  • Goldman Sachs
  • OneMain Financial
  • Discover personal loans
  • loan club
  • Pay
  • Debt Relief Freedom
  • National debt relief
  • Rescue One Financial
  • ClearOne Advantage
  • New era debt solutions
  • Pacific Debt
  • Accredited Debt Relief
  • CuraDebt Systems
  • Guardian Debt Relief
  • Debt negotiation services and help Premier Debt
  • Historical information and projections of product demand, CAGR, and market share of each application field are mentioned in the study.

Regional bifurcation: North America, Europe, China, Japan

  • Along with the growth rate forecasts, the report contains records of the overall revenue and sales obtained by each regional market.

Competitive Landscape Summary

Goldman Sachs OneMain Financial Discover Personal Loans Lending Club Payment Freedom National Debt Relief Debt Relief Rescue One Financial ClearOne Advantage New Era Debt Solutions Pacific Debt Accredited Debt Systems CuraDebt Systems Guardian Debt Relief Debt Negotiation Services Premier Debt Help Oak View Law Group By Region North America United States Canada Europe Germany France United Kingdom Italy Russia Nordics Rest of Europe Asia Pacific China Japan South Korea Southeast Asia India Australia Rest of Asia Latin America Mexico Brazil Rest of Latin America Middle East and Africa Turkey Saudi Arabia United Arab Emirates The rest of the MEA are the distinguished entities shaping the competitive environment in the consumer and corporate debt consolidation industry. Companies are profiled based on their profits, revenue, payment system, market portfolio, and tactical moves. Accordingly, the section highlights the procedures that vendors can use to outperform their competitors over the projected period through successive mergers and acquisitions, product launches, R&D and global coverage.

Industry Value Chain Analysis Overview

The industry value chain model, which focuses on manufacturers, customers, and sales channels, definitely aims to help companies reduce costs at each stage of the product/service life cycle while delivering quality and value to the heart of the people.

FAQs-

  • Which companies represent the competitive scope of the Consumer and Business Debt Consolidation market?
  • Which regions are assessed in the Consumer and Corporate Debt Consolidation report?
  • What are the key segments of the Consumer and Business Debt Consolidation market?
  • How is the Consumer and Business Debt Consolidation Market expected to grow during the period 2022-2028?

Here are some of the reasons why you should buy Consumer and Business Debt Consolidation Market report:

  • The report examines how the consumer and business debt consolidation industry is likely to grow in the future.
  • Using Porter’s five forces analysis, he studies several perspectives on the consumer and business debt consolidation market.
  • This Consumer and Business Debt Consolidation market study examines which product type is expected to dominate the market, along with which regions are expected to grow fastest throughout the projected period.
  • Identify the recent advancements, Consumer and Business Debt Consolidation market shares and tactics of major market players.
  • It examines the competitive landscape, including major consumer and business debt consolidation companies’ market share and accepted growth strategies over the past five years.
  • The research includes comprehensive company profiles for major consumer and business debt consolidation market players, including product offerings, important financial information, current developments, SWOT analysis and strategies. .

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WinterWild is having a huge bonfire and moonlit dance party this weekend

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The second installment of Apollo Bay’s annual WinterWild Festival is happening this weekend.

Shrouded in the darkness and elemental power of Victorian winter, the Dark Arts Festival WinterWild will return to Apollo Bay for its final weekend August 26-28 with live music, theater, gourmet food, outdoor performances, installations, beach bonfires and more. dark heart of the Otway coast.

Having already taken place during its first winter weekends, from August 12 to 14, the festival comes out strong this weekend with an ambitious musical, gastronomic and artistic program promising to bring the public in search of adventure to the confines of the Great Ocean Road.

So what’s up this weekend? Here are some of the highlights worth checking out.

Keep up to date with the latest music news, feature films, festivals, interviews and reviews here.

The Wild Feast | Saturday August 27 4 p.m.

At the heart of WinterWild is The Wild Feast free game.

Located in the Festival Brazier, here you’ll find roaring fire pits and charcoal grills, bubbling cauldrons and giant smoker barbecues…that’s how we celebrate the end of the deep, wild darkness of winter on the coast from Ottoways!

Food tastes so much better cooked outdoors, so wrap up and settle in for a wild feast around the fires, with local seafood bouillabaisse cauldrons, giant paella pans, smokehouse-style meats, freshly caught seafood grilled on the hibachi, and local seasonal vegetables buried in the coals. The amazing local vendors serving the feasts will be Workers BBQ, Peter Ford Catering and Apollo Bay Fish Co-Op, and Great White Buffalo.

Warm your hearts and hands with a cup of mulled wine, a range of Prickly Moses dark ales and Apollo Bay Distillery whiskey in a hot grog or gin cocktail.

Alongside the food, there will also be entertainment from Alister Turrill, The Huxleys and a two-hour Wild Women of Music Tribute show featuring a range of WinterWild artists and Apollo Bay locals.

As part of this, the festival will provide reusable tableware to all food vendors, resulting in a 95% decrease in waste going to landfill. Each person attending The Wild Feast will pay a refundable $5 deposit to contribute to this important environmental initiative, refunds will be available directly after the event when the dishes are returned.

The event is free, but you must reserve your free spot here.

The DogWatch Part 2 | Saturday August 27 6 p.m.

At the beating heart of WinterWild is fire. And nothing embraces, sculpts, worships and glorifies fire quite like The DogWatch. It is the event with which the festival begins and ends – which defines it, energizes it, ignites it.

This year’s theme is centered on the Sirens, these mythical creatures, half-woman, half-bird, with an irresistibly bewitching song that lure sailors to the bone-covered rocks of their island.

DogWatch will once again be led by Roderick Poole, a veteran of the outdoor show, his works having been performed in over 40 countries. He will collaborate with Eloise Wood and WildHoney Performing Arts, as well as a horde of local artists, performers, dancers, musicians and Apollo Bay stalwarts. It will be a passionate and eerie performance that goes to the dark heart of Apollo Bay.

Live music by Leah Senior + Sid O’Neil | Saturday August 27 8 p.m.

Another highlight will be two intimate live performances by Apollo Bay’s Leah Senior and Sid O’Neil at Our Lady Star of the Sea Church in Apollo Bay.

Leah Senior silences the audience with her ethereal voice and lively lyricism. Hailed by critics as a divine masterpiece, his latest album The Passing Scene is a charming extension of his two previous records that oscillate between springtime baroque pop and 70s folk. impermanence, the natural world, loss and ultimately hope. Leah Senior’s voice has the clarity of British folk diviner Sandy Denny, while her writing style ranges from contemplative folk to Paul McCartney-like playfulness.

Sid O’Neil is a person who plays the guitar and the piano and who sings. He is releasing his highly anticipated first solo album. He plays all the instruments there except for a synthesizer and a Mikey Young sampler.

Tickets can be purchased for this event here.

Lunar Garden | Saturday August 27 9 p.m.

The Moongarden is WinterWild’s epic closing ceremony that will be an unforgettable event. Festival-goers are encouraged to dance by the water’s edge under the moon with some of Australia’s best alternative electronic artists, including KIM – The Presets DJ Set, Big Yawn (live set) Sleep D, Post Percy and Donalds House for close the 2022 party in style.

Multi-ARIA award winner Kim Moyes is one half of iconic Australian dance music duo The Presets and so much more. Working alone as KIM, he has produced and co-written with DMA’s, DZ Deathrays, Northeast Party House, Digitalism, and Kirin J. Callinan, among others. He has also created acclaimed remixes for a wide range of artists including Tove Lo, Kings Of Leon, Cassius, Tiga, Ajax, Flash & The Pan, Bag Raiders, Rinse and Midnight Juggernauts.

KIM has been touring his acclaimed DJ sets locally and internationally over the past 15 years and has released several solo EPs through Modular Recordings, Motorik! Records, Unknown Records, Rallye-Klee Records (Japan) & Bang Gang 12 Inches. In 2018, he launched “Here To Hell”, a new label for emerging electronic artists which Kim runs with veteran Melbourne DJ and Zero Percent partner Mike Callander. His work with The Presets includes co-writing and co-producing all of the band’s work and performing live behind his drums at some of the biggest music festivals in the world.

Sonic explorers, label heads, stalwarts of Melbourne’s underground, Sleep D explores the rave unconscious – driving beats, hypnotic bass, echo worlds and the hazy bliss of the morning after. Childhood friends with Iraqi and Maltese lines, the duo and their coveted Butter Sessions label ushered in a new era of sensibility and productivity in the city that raised them.

Melbourne quartet Big Yawn make experimental electronic music by fusing a mix of sweeping synthesizers, heavily refracted vocal sampling, motorik-style percussion and disorienting dub effects. The group draws musical inspiration from artists like Hiroshi Sato, Hype Williams, Shinichi Atobe and many more.

Rounding out the event are DJ sets from Sleep D and Post Percy and Donalds House, promising to bring the heat for the last weekend of winter.

Tickets here.

WinterWild is part of On the Road Again, a Victorian government initiative to bring live music back across the state. WinterWild will run from August 26-28. To see the full program, go here.

Adil ElArbi | Batgirl directors Adil El Arbi and Bilall Fallah claim they were denied access to film footage

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“Batgirl” directors Adil El Arbi and Bilall Fallah say Warner Bros. blocked their access to footage from the canceled film.

The superhero film was dramatically canned earlier this month and the filmmaking duo have accused the studio of blocking their access to production servers to prevent the pair from developing their work.

In an interview with SKRIPT, Fallah said, “We don’t have anything. Adil called me and said, ‘Shoot everything on your phone’. I went to the server and everything was blocked.”

El Arbi added, “We were like, ‘F****** s***! All the scenes with Batman in it! S***!”

The makers have also shut down rumors that poor test screenings were responsible for the film’s cancellation and insists it was a strategic decision to shelve the film, which was scheduled for Leslie. Grace, JK Simmons and Michael Keaton.

El Arbi, 34, said: “The guys at Warners told us it wasn’t a talent issue on our part or the actress, or even the quality of the film.

“They told us it was a strategic change. There was new management and they wanted to save money.”

Fallah revealed that he was completely stunned when he found out that the film, which had already been shot, would not be released.

The 36-year-old director said: “First when I heard the news I was shocked, I didn’t know how to react. I wanted to smash stuff, cry, even laugh. I was like, ‘ It’s not an event.”

The makers of “Bad Boys for Life” still hold out hope for the film and are grateful for the support of film industry figures.

Fallah said, “Seeing all the support on Twitter, and even from great directors Edgar Wright and James Gunn, who sent us messages of support, was heartwarming.”

El Arbi added, “After all, we make films for the audience, not for us. We just hope that one day the film will come out, for the actors and the crew. We are a small family.”

Wavecraft Collective releases the first volume of its new series of compilations

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Wavecraft Collective brings back previous favorites for their new series of compilations, Recurrenceand the first volume has just been released.


The East Coast-based team known as Wavecraft Collective has been a consistent force in the underground bass music scene since 2018. While operating as a record label showcasing up-and-coming artists, Wavecraft also hosts club events throughout the East Coast with lineups perfectly organized. Additionally, the collective has recently hosted takeovers at numerous festivals, including The Untz, Yondervilleand FireLightsFestival.

Now a brand new series from Wavecraft Collective is coming after the release of the book of shadows compilation earlier this year, Recurrence. Aptly titled, the theme of this project is to feature artists such as Sky Suite, smol, JamL and many more who are all returning to the label to show how much they have grown artistically since their previous releases on Wavecraft.

Denver-based artists Sky Suite and let to start up Resurgence Vol 1 with their tracks. Sky Suite opens the project proper with grimy basslines on their track”GTYOASUP,” followed by “Mystifya low-end dubstep track by leet with British-style rap vocals. Then the tracks of little and MLOTIK find a house in the middle to help prove the well-rounded nature of the compilation.

INNOCENTan 18-year-old Canadian producer, offers a standout track on the compilation titled “New start” with his unique voice and bass chirps. The closing of the compilation is a collaboration between artists JamL and Zadkeil hit hard on “To the flowwith an energetic beat and plenty of distortion that should become an instant favorite for any bass music lover.

Stream the collaboration now on your favorite platformand be sure to let Wavecraft Collective know which tracks were your favorites on their social channels linked below.

Stream Wavecraft Collective – Resurgence Vol 1 on Spotify:


Wavecraft Collective – Recurrence Volume 1 – List of tracks:

  1. Sky Suite – GTYOASUP
  2. leet- Mystify (ft. Brotha Nature)
  3. MLOTIK – No hype
  4. smol – So High
  5. INNOCENT – Fresh start
  6. JamL & Zadkiel – To The Flow
Wavecraft Resurgence Vol 1
Artwork by Deadx3 Designs

Follow Wavecraft Collective on social media:

Website | Facebook | Twitter | instagram | SoundCloud | Tic

Personal loan for debt consolidation: a guide

Using Personal Loans to Consolidate Debt: The Benefits

Every financial decision has pros and cons. A personal loan used to consolidate debt is no exception.

Here is an overview of the benefits that come with using a personal loan to consolidate debt.

Loan term flexibility

When shopping for a personal loan, you can usually choose the repayment term. With the ability to choose, you can find a monthly payment option that fits your budget.

If you are able to lock in a shorter repayment term, you will reduce the overall cost of the loan. Indeed, a shorter repayment term means fewer monthly payments.

Lower interest rate

The exact interest rate you can lock in for a personal loan varies depending on the borrower’s credit score and debt-to-income ratio (DTI). But in general, you will be able to find a lower interest rate for personal loans than those attached to your credit card.

A lower fixed interest rate can help you save thousands of dollars while paying off your debt. But not all borrowers will find lower interest rates. Generally, a debt matching loan only makes sense if you can find a lower interest rate.

Single monthly payment

Consolidating your outstanding debt payments into one monthly payment can help you get a clear understanding of your financial situation. Without the stress of juggling multiple payments, you can set a simple budget that works for your finances.

Additionally, most lenders will allow you to set up an automatic payment option. With this, you can begin to eliminate stress from your life while paying off your debts.

Lower monthly payment

When looking for a personal loan, you have a choice. It is possible to lock in a lower monthly payment by finding a personal loan with a lower interest rate or a longer loan term.

If you’re struggling to meet the combined total of your monthly payments, the ability to stretch your payment obligations can give you some of the wiggle room you need in your budget.

Although a longer loan term means you’ll pay more interest over the life of your loan, this strategy gives you the ability to prioritize the cash flow you need to make ends meet.

No collateral required

A personal loan is a type of unsecured debt. As a borrower, you will not have to provide any asset as security for the loan. Although this means that no specific asset is tied to the loan, it generally means that you will find higher interest rates than with secured debt.

For example, home equity loans generally have lower interest rates than personal loans because this debt is secured by your home. If you default on a home equity loan, the lender can foreclose on your home. But that’s not the result when you default on a personal loan.

Catch a ‘sneak peek’ of Joji: A preview of Joji’s ‘Smithereens’ tour at Frost

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Following the release of his single “Glimpse of Us” in 2022, Japanese R&B singer Joji has announced that he will kick off his “Smithereens” tour on September 1 at Stanford’s Frost Amphitheater. Alongside Joji at Frost, R&B and rap artists Rei Brown and SavageRealm will perform.

Joji’s rise to fame is unique to say the least. Before music, Joji was a star on YouTube under the name Filthy Frank, where he uploaded edgy comedy videos. He launched his music career by signing with 88rising, an Asian hip-hop focused music label, after retiring from YouTube in 2017, but his music career took off in 2018 after the release of his single “Yeah Right “, which peaked at 21 on the US Hot R&B/Hip-Hop Songs chart by Billboard. Although he experimented with his music by collaborating with artists like Lil Yachty, Joji has remained true to the musical style that propelled him to fame: dark love songs.

With Joji’s performance fast approaching, it’s time to revisit some of her greatest hits from the last few years of her career. He recently achieved his biggest musical achievement to date with the release of his single “Glimpse of Us”, which peaked at number 8 on the Billboard Hot 100 and was also Joji’s first time on this chart. “Slow Dancing in the Dark”, his most popular song, achieved twice multi-platinum status after being released on the Ballads 1 album in 2018.

For those familiar with these songs, it’s clear what makes Joji such a popular artist. Joji mixes R&B with elements of trap, electronics, lofi and his melodic singing to create what he describes as “dark love songs”.

Some big hits Joji will likely perform are “Sanctuary,” “Yeah Right,” and “Slow Dancing in the Dark.” “Sanctuary” and “Yeah Right” both sound very similar: on both tracks, Joji sings on a slow but percussive instrument, even though the meaning of the songs are very different. “Sanctuary” is a happier song, which gives it a happier and less melancholic side. “Yeah, right” is the opposite; this track is the definition of a dark love song and perfectly captures Joji’s dark emotions.

Joji always saves the best for last by ending all of his shows with “Slow Dancing in the Dark”. He usually starts with the acoustic version of the song but switches to the radio version for the end of his performance. He sings about a failing relationship with a girl, and similar to “Yeah Right,” he channels his feelings perfectly through this song. On stage, Joji shows off his amazing voice during the acoustic part by adding embellishments throughout his vocals and hyping up the crowd with his screaming vocals during the radio version which really makes this song a great matchup.

“Glimpse of Us” is another song about a failing relationship, and is very similar to “Slow Dancing in the Dark”; in fact, the lyrics describe the same situation from the other person’s point of view. “Slow Dancing in the Dark” describes how his partner thinks of someone else and should just be with him instead, while “Glimpse of Us” explains how Joji can only think of his former partner when he is with her again. Although Joji has yet to perform “Glimpse of Us,” the popularity he’s gained through social media has fans looking forward to seeing Joji sing his heart out on stage.

One of the guest artists, Rei Brown, is also an R&B artist, whose music is stylistically similar to Joji. He too makes love songs by combining his melodic vocals with electronic, pop and R&B instrumentals, but his music leans more towards pop than Joji’s. Rei Brown previously collaborated with Joji on Joji’s song “Normal People” from her album “Nectar.” Joji also made a guest appearance on Rei’s latest album “Xeno”, on the song “Thinking Bout You”. Both songs are scheduled to be performed live on September 1.

SavageRealm, meanwhile, is a guest artist whose music differs dramatically from Joji’s. Unlike Joji or Rei Brown, SavageRealm only raps. The contrast between SavageRealm’s harsh and sometimes raw rap songs and Joji’s slow, dark love songs may leave fans wondering why they play together. While there’s no definitive answer, some photos on SavageRealm’s Instagram suggest they’re friends. After all, there might still be a bit of Filthy Frank in Joji that’s in tune with SavageRealm’s goofy lyrics.

The September 1 setlist will likely be different from previous shows with the addition of Rei Brown and SavageRealm, but here’s the list of songs Joji performed during his last performances in order: “Sanctuary”, “Yeah Right”, “Mr. Hollywood”, “Watch Out”, “Will He”, “Yuck”, “Like You”, “Demons”, “Can’t Get Over You”, “Pretty Boy”, “Gimme Love”, “Your Man”, and “Slow Dance in the Dark”.

Editor’s Note: This article contains opinions, thoughts, and subjective criticism.

Demi Lovato suggests she wants to have kids after confirming her relationship with musician Jutes

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A few days after releasing her eighth studio album, Demi Lovato said she wants to start a family on August 22.

In an interview with Entertainment Tonight, Lovato shared some accomplishments about her life and her music-making process.

A few days after celebrating her 30th birthday, the “29” singer was thrilled to be authentic herself, saying, “It feels so good to be completely authentic in what makes me happy, to perform and sing, and I I’m just really, really excited about it.”

Her latest studio album “Holy Fvck” shows a side of Lovato that she has always wanted to show fans and audiences. “Holy Fvck” presents such a contrast to his previous album “Dancing with the Devil… the Art of Starting Over”, released the year before.

“I went back to my roots and I don’t perform in leotards and stilettos anymore, you know, I try to be someone that I thought people wanted from me,” she told AND.

“Now I can just be myself — my genuine, authentic self — and perform the songs that I want to perform.”

READ MORE: Harry Styles, the ‘new King of Pop’

A new and real Lovato

Turning 30 and releasing an album that speaks to her soul, Lovato has reflected on her 20s and the possibilities of her future now that she’s learned to kiss herself.

“I really understood who I was […] “I say that a lot, every time I get older, but it’s like I’ve never felt so confident and grounded,” the ‘Cool For The Summer’ singer said.

Asked about her to-do list, she says it’s no longer things like jumping out of a plane – which she’s done before – but more about family, “Things like having a family are really important. for me […] It is the stuff of life.”

Self love and acceptance

Lovato has struggled with her mental health and substance use, taking trips to rehab in the past. But it looks like she’s finally on the road to recovery.

“I’ve been through a lot, you know, and I’m really proud of myself. And sometimes I look in the mirror and just say, ‘I’m so proud of you. You’re doing great, and I love you,’” she said.

In addition to a new album, Lovato also has a new beau. She was spotted celebrating her 30th birthday with Jute$, a day after confirming their relationship.

Back in May, Lovato spoke about becoming a parent: “I don’t know. I really wanted this, and then, as I’m approaching my thirties without children, it’s kind of nice. I have maternal instincts, I love my animals, and I really thought that one day I would like to be a parent.”

Perhaps Lovato’s change of heart could be attributed to her newfound love interest. Jute$, or Jordan Lutes, a Canadian musician, also helped Lovato with the music. He co-wrote “Substance” with Lovato, a song about his struggle with addiction.

She dedicated “4 EVER 4 ME” to Jute$ and he also seems to be in love with the singer as well as he called himself the “luckiest schmuck in the world”.

READ ALSO: Biggie Smalls’ Daughter T’yanna Wallace Posts $1 Million Bail For Boyfriend, 3-Person Hit And Run [Details + Video]

© 2015 MusicTimes.com All rights reserved. Do not reproduce without permission.

My Chemical Romance Play ‘Bury Me in Black’, last performed in 2003

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Recently, My Chemical Romance have had a habit of bringing back songs that have long been absent from their setlists, as their runs in the UK and Europe have seen them release a host of deeper cuts. Now they’re digging deep again for the start of the US leg of their reunion tour by performing “Bury Me in Black” for the first time since their December 14, 2003 concert at Irving Plaza in New York City.

Last night (August 20), the emo/alternative rock band from New Jersey took the stage at the Paycom Center (in Oklahoma City) to kick off the North American leg of their 2022 Reunion tour. After opening with “The Foundations of Decay” — which was released in May 2022 as their first new post-reunion track — they released “Bury Me in Black.”

My Chemical Romance, “Bury Me in Black” live in Oklahoma City

Longtime fans will recall that “Bury Me in Black” was never included on a studio album; instead, it was only ever released as a demo which appeared as the B-side to the 2004 single “I’m Not Okay (I Promise)”. Thus, its placement here was quite unexpected, demonstrating how obscure and expansive the band’s current setlist is.

In fact, “Bury Me in Black” wasn’t the only notable inclusion at last night’s concert. Setlist.fm reports that MCR has also brought back “This Is the Best Day Ever” (from their 2002 debut album, I brought you my bullets, you brought me your love), which they had not performed live since October 2005.

My Chemical Romance, “This is the Best Day of My Life” Live in Oklahoma City

These additions come just months after their May and June 2022 dates in the UK and Europe., during which they resurrected “It’s not a fashion statement, it’s a death wish”, “Mastas in Ravenkroft”, “Cemetery Drive” and “Tomorrow’s Money” after several years of these songs lying dormant.

Beyond that, MCR offered a revised release for “Sleep” and dedicated “The Ghost of You” – from 2004 Three cheers for sweet revenge – to producer Doug McKean (who passed away earlier this year).

You can see the full My Chemical Romance setlist from the performance below. Additionally, you can grab your tickets for the remaining dates of their Reunion 2022 tour here.

My Chemical Romance Setlist – August 20, 2022 – Oklahoma City, Okla.

“The Foundation of Decadence”
“Bury Me in the Dark”
“Give them the hell, kid”
“Money of Tomorrow”
“Teenagers”
“Summer time”
“Bulletproof Heart”
“Mastas of Ravenkroft”
“DESTROY”
“Na Na Na (Na Na Na Na Na Na Na Na Na)”
“Your Ghost”
“It’s the best day of my life”
“Welcome to the Black Parade”
“Mom”
“Boys Division”
“Our Lady of Sorrows”
“Famous Last Words”
“Sleep”
“Vampire Money”
“I’m not fine (I promise”)

Every Emo Holy Trinity Album Ranked Worst to Best (My Chemical Romance, Fall Out Boy, Panic! At the Disco)

Joni Mitchell | Joni Mitchell hopes to record music again after ‘losing confidence’

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Joni Mitchell’s ex-husband, Larry Klein, says the veteran singer hopes to return to the studio to record new music.

The 78-year-old singer suffered a brain aneurysm in 2015 that left her unable to speak or walk for some time, but last month she returned to the stage for her first full show since 2000 at the Newport Folk Festival in Rhode Island – and his former wife Larry said she wanted to return to music.

He told Mojo magazine: “She’s been working on getting all kinds of things back, and she wanted to sing again, she just hadn’t gotten to the point where she had the confidence to get into the studio.”

When asked if Joni would ever record new music, he replied, “I wouldn’t be surprised (if she records new music). She is a hard worker.

“She’s been working on regaining the ability to play the guitar, and that means she’s going to start experimenting, and who knows what’s going to happen with that?”

Larry was a session guitarist who met Joni while working on his 1982 record “Wild Things Run Fast” and they fell in love during their time together and were married at the end of the year.

They separated during the creation of the singer’s “Turbulent Indigo” album in 1984, but continued to work together after the divorce.

After Joni made her return to the festival in July, she revealed that it was the first time she felt nervous about performing.

Speaking to CBS News after the show, she said: “I was never nervous about being in front of an audience, but I wanted to be good and I wasn’t sure I could do it. But I didn’t look too bad tonight “I think having a touch of death like that softens me people.”

Joni learned to play the guitar again by watching online tutorials.

She said: “I’m learning. I watch videos that are on the net to see where I put my fingers. It’s amazing what an aneurysm knocks out – how to get out of a chair, you don’t know how to get out of a bed…

Back to childhood, almost. You have to relearn everything. “

We♥KC – August 23-31, 2022 Upcoming Shows (Kansas City / Lawrence / Topeka KS)

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Thursday August 25

Telekinetic Yeti with White hills, they Look at us of the moonrecordBar, $18-20

Biggest band name… of all time? ! Dubuque, an AI duo that “delivers sonic brutality laced with the magic of psychedelic doom, forged by the cult of the almighty riff and honed by relentless touring and dedication to their craft.” … wow! Full length Primordial came out of (on Tee Pee Records) in june…will you join the cult of the yeti? !

White Hills is a stoner doom psych duo coming out Revenge of the Burning Heads last september

K.C. They watch us from the moon (a great name too) is led by Luna Nemeses, recently played The replay to Lawrence, and released the 11-minute track, “Return to Earth” last December.

friday august 26

Leftover Salmon / Infamous Stringdusters Kaw Valley Music Festival, August 26-27Abe and Jake’s Landing-Lawrence, $50 to $1,600

Two days of roots, bluegrass and Americana music along the Kansas River in historic Landing of Abe and Jake. Legendary Artists Leftover salmon and The Infamous Stringdusters title, plus Jon Stickley Trio, Daniel Donato, Opal Agafia, Chain Station, Pretend Friend, Sky Smeed, Lily B Moonflower, Tyler Gregoryand more are on the bill (and yes, you read that high-end entry price right!)

Katy Guillen and the ReaderKnuckleheads, $15-$27.50

Katy Guillen & The Drive is grounded in the creative spark and chemistry between Katy Guillen and Stephanie Williams, with Guillen on guitar and vocals and Williams on drums. After six years of touring, writing and recording together in the former band Katy Guillen and the girlsthe pair got a head start on crafting a new catalog. August 26 Katy Guillen Knuckleheads

In their next chapter, they move forward with a melodic, heavy and soulful sound while maintaining their rock ‘n’ roll and blues roots. The brand new album has just been released, another won and this show will celebrate new music, and more. Special guest Heidi Gluck also efficient.

Andy McKee with Calum Grahamand Trevor Gordon HallConcert for a family allowance for capper, TPAC, $40 to $100

Concert for a child is back for its second year with fingerstyle guitarists Andy McKee, Calum Graham, and Trevor Gordon Hall the organization of a masterclass and the performance of a special concert jointly benefiting Capper Foundation Pediatric Scholarship Aid Fund and Topeka Performing Arts Center. The guitar masterclass (4-6 p.m.) costs $180 per person and includes the lesson, a light dinner, and a GA ticket for the concert, which begins at 7:30 p.m. August 26 Concert for a child at TPAC

Capper Foundation raises funds to help uninsured or underinsured children with disabilities receive pediatric therapy services. 75% of families served use the Scholarship Assistance Fund to help cover the cost of their child’s services.

Topeka Performing Arts Center raises funds to support arts education programs for all youth in the community. Profits will benefit the Sheffel Theater Clinic, School Theater Series, Master classesand Gingerbread houses for the holidays.

Saturday August 27

alan jackson, T-Mobile Center. $31.50-$151.50

Last call: one more for the road! brings over 30 years of success to what is likely its last time in the region. This follows his fall 2021 announcement that he is living with CMT (Charcot-Marie-Tooth), a chronic inherited neuropathy that causes nerve damage and impairs muscle function, movement, and balance. August 27 Alan JAckson T-Mobile

$1 from each ticket sold will be donated to CMT Research Foundation, fund research for drug development. In addition, $1 will be matched by a group of CMTRF donors and board members.

Leanne Morgan, Arvest Bank Theater in Midland. $29.75-$49.75

The Central Tennessee comedian, after 22 years in comedy, is launching her 100 cities Big Panties Tour across the United States. Her children being grown, she is grateful to have this opportunity at this time in her life. and also has a new grandchild… as she would say- so Delicious!

The rainmakers w Betse and Clark String BandKnucklesheads, $20

The original classic Kansas City rock band, led by Bob Walkenhorst, who had a a handful of radio of hits in the late 1980s-90s in the US and Europe, especially Norway. We caught them live in june, to JoCo for their first pandemic comeback show and heard all the favorites that were all over Midwestern rock radio. It’s unclear if bassist Rich Ruth will be making the trip from Nashville again to play this show, as he did in June.

The Floozies with Jantsen, Tripp Street. and more, GrindersKC. $28-$75

Based in Lawrence, the duo is made up of producer/guitarist Matt Hill and the Mark Hill brothers, who take their approach to electronic music and live performance across the country. The Floozies present funk street 7with the support of Jantsen, Tripp Street, Esseks & trash angel. We last caught up with the electro-funk duo in 2017 in Minneapolis.

Megalodon, Practitioner, High Zombie and more, Aura. $20

Known for his impressive cut style and high energy sets, Megalodon is no stranger to the dubstep scene. Since 2008, the SF-based producer has risen to prominence after collaborations with Zeds Dead, Skism, Habstrakt, 12th Planet, Virtual Riotand more. August 27, 90 at the Royals

Vanilla ice cream, Blackstreet, Color Me Badd,Treach of Naughty by NatureKauffman Stadium, free with Royal ticket

Stop, collaborate and listen! This is a post-match concert featuring 1990s artists who will take the stage after the Royals-Padres Thu. First pitch is at 6:10 p.m.Me with the start of the concerting shortly after the end of the game. Fans with a Game the ticket can stay to watch the show.

Additional Upgrades – $25 Field Pass allows on the field during the concert.

The $275 VIP package includes a field pass, access to the start of the field line, meet and greet artists, an autographed poster, and a photo opportunity.

Also don’t forget about those $20-$40 parking fees just to get into the complex, No Diggity!

Viligir and forsetî dive into their new imprint, World Tree Records

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Viligir and forseti just launched a new imprint, World Tree Records, and dropped by to discuss his creation and debut single.


New footprints appear left and right in the scene, but few go beyond being vessels for artists to clap tunes to be consumed by the masses. Walk in World Tree Recordsa new imprint led by vilify and forgotten which was launched with the aim of adding more depth to the scene by centering its outputs in the fantasy realm.

Earlier this summer, the two artists hosted a special night in Seattle to celebrate the launch of World Tree Records, but that wasn’t all they had in store. This week they launched their new collaborative project, wild faewith “Fantasy” as the first version of the footprint. This new track sees Viligir and Forsetî take listeners into a vast desert soundscape with stunning Pastelle vocals to help take it to the next level. This is only the first chapter of the story that will arrive in the coming months, so keep your ears peeled for more.

Seeking to better understand World Tree Records and to dive a little more into the spirit of Viligir and forsetî, we met the two artists to discuss. Listen to “Phantasm” and read the conversation with these two creative masterminds.

Stream Fae Wild – Phantasm (feat. Pastelle) on Spotify:


Hi forsetî and Viligir; thank you so much for taking the time to chat with us today, and congratulations on the launch of World Tree Records. Let’s cut to the chase. Can you give us an overview of the foundations of this new imprint? What led to its creation?

Thank you very much for having us. When we first met, we realized that we both made very similar music sound individually, and neither of us really had a place to release it. We were living in two different states at the time, but were surprised to find out that we had both been making fantasy-inspired dance music for a few years. Later, we spat out ideas on how we could release the music, and it seemed more logical to team up and create a brand surrounding the whole sound.

In June, you officially celebrated the launch of the label with a party at Substation during the summer solstice dubbed “Ring One”. What was this experience like and what does the future hold for other World Tree events?

We wanted to encapsulate the feeling of entering a party in a fantasy world, a kind of tavern or a magical environment. We decorated the space with candles and greenery, magic lanterns that burned in blues and purples, and things that made the audience kind of forget where they were. We even gave all the guests elf ears, which we plan to do for future shows as well.

For our very first event, the turnout was great and the evening went exactly as we had hoped. Many people who came told us afterwards that they felt transported to a new realm, where they could lose themselves in the music. As for the future of World Tree events, we hope to maintain this standard and bring audiences into new and exciting worlds of sound.

Now, in August, you released your first track on World Tree, “Phantasm”. You teased the track with a behind-the-scenes video that dipped into its creation, but where did the decision to conjure the imagery of a desert come from?

The idea for the desert theme in Phantasm actually came as part of the concept for our upcoming album Fae Wild. The album is done in a way that tells a narrative story as you listen to it from start to finish. On the album, there are three desert-inspired tracks, three from the forest and three from the ocean. You will certainly hear the journey through these landscapes in the music when you listen to the album.

What is the story behind your work with Pastelle sur la piste? How did this relationship first form?

A few weeks after finishing production on Phantasm, Pastelle found forsetî’s Twitch stream while he was working on another song for our album. Coincidentally, she also happens to make fantasy-inspired music, which has sparked mutual admiration and curiosity for each other’s work. From there, we wrote the lyrics for Phantasm and sent her a melody idea, and she really brought the lyrics to life.

Viligir and forseti

Back to the label itself, do you plan to open it up to other artists for future releases, or will it be primarily a home for your tracks? How can others get involved in advancing World Tree?

We certainly plan to open World Tree to other artists in the near future. After the Fae Wild album, there will be a compilation album with many talented artists. We can’t name any at the moment, but it’s sure to be a great lineup. With the compilation, we want to give other artists a place to experiment with their sound and really explore the otherworldly aspect of fantasy-inspired dance music. And after that, we want to release EPs and albums from other artists besides ourselves.

World Tree is driven by your two passions for fantasy worlds, so can you shed some light on some of your favorite books or movies in this genre?

Vigor: It’s hard to pick favorites because the joy of fantasy is that the stories are all so unique. But right now, I draw most of my inspiration for my music from the stories I create with my friends who play Dungeons & Dragons. Nothing is more fun than telling stories in a group and exploring a fantasy world in real time with friends. I love the Legacy series of books (Eragon) for its interesting magic system and impressive dragons.

I grew up on the Lord of the Rings, and it’s one of my favorites because of how adorable the characters are. As a Slytherin, I couldn’t leave out Harry Potter That is. I think of all the fantastic stories; I would choose to live in the Harry Potter universe because the idea of ​​going to Hogwarts is just too cool to pass up. Maybe I could be a rare positive addition to Slytherin house, but you never know. I could also be the next evil genius.

forgot: My favorite fantasy world has always been Tolkien’s Legendarium. From my very first viewing of Return of the King at the cinema, I was addicted. Something about the stories told in the the Lord of the Rings, The Hobbitand Silmarillion evokes such a sense of wonder and awe and touches on both grand and humble themes that I can’t help but be utterly inspired every time I return to Tolkien’s writings or any of the great adaptations .

I’m also a huge fan of Frank Herbert’s classic novel dune. I’ll never forget how amazed I was at the world-building when I first read it. The cultures, language usage, ecology, characters, economy, government, and storylines are all fleshed out so convincingly. The Fremen people and culture especially scratch my itch for a thoroughly engrossing world-building. On top of all that, all of Herbert’s deep philosophical teachings are embedded in almost every sentence. To name a few that I love and could easily take on tangents Harry Potterthe Halo series, ghost in the shell, avatar the last airbendermany Ghibli movies, children of whales, demon slayer, A punch, Akira, angel egg, the witcher universe, and transmitted by blood.

Finally, where do you hope to take World Tree in the coming months and years? Are there any specific goals you would like to achieve?

In the future, we hope to see World Tree at music festivals, renaissance fairs and nightclubs. Wherever we are, we hope fans come with elf ears, cosplay, and potions ready to get lost in the music with us. It would be amazing to look outside and see a crowd full of dancing elves, stomping trolls and witches and wizards waving wands.


Follow World Tree Records on social media:

Facebook | Twitter | instagram | SoundCloud

The 10 Weirdest Rolling Stones Songs

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The Rolling Stones are well known for their dogged endurance. Very little deters them.

It’s an unwavering attitude that applies as much to their touring schedule as it does to their willingness to think outside the box. “The more you do it the better because you get more variety,” Mick Jagger said in a 2007 interview.

The Stones are often described as the quintessential rock ‘n’ roll band, but that hasn’t stopped them from experimenting with different sounds – from blues and country to psychedelia and disco. Some of these experiments have paid off; others proved more confusing. The most notable find their way into our list of the 10 Weirdest Rolling Stones Songs.

10. “Goin’ Home” (from 1966 Consequences)

In the mid-60s, hit songs hovered around the three-minute mark. Anything beyond that was generally considered too long for Top 40 radio. Even when it came to selecting recordings for albums, longer songs were often overlooked for shorter, friendlier options on the business plan. Some artists began to challenge this notion over the decade, recording tracks lasting 10 minutes or more. The Rolling Stones’ first foray into this territory, “Goin’ Home”, originally consisted of only the first two and a half minutes. “We tried to do singles for as long as we could because we just like to let things happen,” said Keith Richards. rolling stone in 1971. “Nobody sat down to do an 11-minute track. … We just got the tape rolling.”

9. “Something Happened to Me Yesterday” (from 1967 between the buttons)

“Something Happened to Me Yesterday” begins with an unexpected trumpet intro before settling into a playful Music Hall-like groove. The trumpet reappears a little later, accompanied by trombone and tuba, all apparently played by Brian Jones. This is best known, however, as the first Stones song to feature a lead vocal sung by Keith Richards, who takes over from Jagger for a few lines. A strange farewell message is spoken by Jagger at the end of the song: “Well, thank you very much, and now I think it’s time for all of us to go. So, from all of us to all of you, not forgetting the boys in the band and our producer, Reg Thorpe, we would like to say, God bless you. So if you’re going out tonight, remember if you’re on a bike, wear white. evening, all.” Andrew Loog Oldham was the actual producer.

8. “Sing This All Together” (from 1967 Request from Their Satanic Majesties)

Several cataclysmic changes have occurred throughout the history of recorded music. One of them is definitely the release of the Beatles sergeant. Pepper’s Lonely Hearts Club Band, which combined heavy psychedelic imagery with experimental instrumentation. The Rolling Stones, like many groups at the time, attempted their own version. Request from Their Satanic Majesties was not as well received as sergeant. Pepper, with Richards later describing the LP as a “load of bullshit”. The opening song, “Sing This All Together,” is a wildly disorganized cut that might be better suited to a carnival than an album by one of the biggest bands in the world.

7. “Cherry Oh Baby” (from 1976 black and blue)

The Rolling Stones have released a handful of reggae-inspired tracks throughout their career, but perhaps the strangest is “Cherry Oh Baby,” their cover of a 1971 song by Eric Donaldson. The Stones were heavily influenced by reggae in the mid-70s, as evidenced by several tracks from 1976 black and blue. “I had all these [reggae] recorded in France with me when we moved there and when we were recording songs for Exile on Main St. at Keith,” Charlie Watts said in According to the Rolling Stones. “Mick had it too. I would play him ‘Cherry Oh Baby’ or he would play me one.” There’s a slightly rambling quality to the Rolling Stones version, with Jagger occasionally slipping into a subtle Jamaican accent.

6. “Might as Well Get Juiced” (from 1997 Bridges to Babylon)

To be fair, there was a lot going on in 1997 Bridges to Babylon, the Stones’ attempt to maintain some relevance in the increasingly changing music industry. Jagger and Richards were rarely in the studio at the same time while making the album. “There’s a big danger when you’ve made all these albums…that you think you know how to make a record,” Jagger said. rolling stone at the time. “I don’t want to do the first thing that comes to mind.” So they didn’t. Unfortunately, the pretty bluesy “Might as Well Get Juiced” is layered with electronic additions that haven’t aged well.

5. “Continental Drift” (from 1989 Steel wheels)

“Continental Drift” stands out on Steel wheels for its typically Middle Eastern flavor. The track features the Master Musicians of Joujouka, a Moroccan band the Stones traveled to Tangier to record with. It was a turning point for the band: Brian Jones had recorded the Master Musicians in 1968, even releasing an acclaimed live album, Brian Jones introduces Pan’s pipes to Joujouka.

4. “2000 light years from home” (from 1967 Request from Their Satanic Majesties)

As Richards explained in 1971, the Rolling Stones hadn’t exactly planned Request from Their Satanic Majesties turn as he did. “It wasn’t supposed to be this ambitious, it just became that way,” he said. For all its psychedelic undertones, “2000 Light Years From Home” was one of the few tracks on the album to be translated on stage. The Stones regularly performed the song on their 1989–90 Steel wheels/Urban Jungle Tours and performed it when they appeared at Glastonbury in 2013.

3. “I just want to see his face” (from 1972 Exile on Main St.)

Like most of Exile on Main St., there is general confusion in the slight “I just want to see his face”. The classic album was recorded in a makeshift basement studio in France, so much of that tone came naturally. (The huge amount of drugs used at the time also contributed to the LP’s sound.) “I Just Wanna See His Face” is mostly a loose jam that leans in a slightly gospel direction but doesn’t build towards anything in particular. particular. Somehow it still fits perfectly with ExileAnarchic complexity.

2. “Too Much Blood” (from 1983 Sheltered)

“Too Much Blood” is deceptively cheerful for a song about a brutal murder scene that turns cannibalistic. “Cut off his head / Put the rest of his body in the fridge, eat it piece by piece / Put it in the fridge, put it in the freezer“, sings Jagger. He wrote the song about a 1981 criminal case involving a Japanese man named Issei Sagawa, who was arrested in Paris for the murder (and more) of a classmate. Jagger also discusses the rise of the violence in pop culture, name drop The Texas Chainsaw Massacre at one point. It offers little consolation, only a warning: “Reality is stranger than fiction.”

1. “Far Away Eyes” (from 1978 Certain girls)

If the Rolling Stones came from England, their interpretations of American blues and R&B are among the best of the time. They’ve also dabbled in country music occasionally, such as in “Far Away Eyes” where Jagger half-sings and half-talks in an exaggerated Southern accent as he recounts memories of touring the United States “You know, when you walk through Bakersfield [Calif.] Sunday morning or Sunday evening? I did it about six months ago,” he said. rolling stone in 1978. “All the country music radio stations start playing black gospel services live from Los Angeles, and that’s what the song is referring to – but the song is really about driving alone, listening the radio.”

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Hot Chip: Freakout/Release, review — ode to the loneliness of the late-night disco dancer

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London collective Hot Chip have proven their consistent presence in synth-pop for nearly two decades. Yet somehow they swerved while being stuck in a furrow. Freakout / Liberation is Hot Chip’s eighth LP and their catchy, whimsical material has spanned several acclaimed albums. It’s also been invigorated by the band’s experimental streak, spanning various live collaborations (most recently their Hot Congotronics set with DRC supergroup Kasai Allstars) and multi-flavored offshoots, be it solo work more folk from singer Alexis Taylor or club culture appearances from Joe Goddard.

Freakout / Liberation a Hot Chip always ready for the ground, while regularly ready to dive into darker emotions. “Down” opens the album, a splendidly loose-limbed boogie, based on a snippet of the late ’70s Chicago soul-funk band’s “More Than Enough,” before bouncing into the summer electronica of the first. single “Eleanor”. On this final track, Taylor’s plaintive vocals are full of fun and eerie details, including a meeting between a professional wrestler and a literary gift (“You’re like Andre The Giant on the way to school / Beckett made him do one lap before there was carpooling”).

Hot Chip never seems to take himself too seriously, but here he confronts rawer feelings with genuine compassion. “Broken” has a frank vulnerability (Taylor reflects: “If I can find a language to help me / Then maybe you can still support me”) while “Out of My Depth” is confessional. They recorded this album in the intimate territory of their own Relax & Enjoy studio (built by band member Al Doyle) but are also in great company throughout. Hip Belgian duo Soulwax lend pleasantly pungent co-production and rock riffs to the title track’s vocoder rumble; British electronic DJ/artist Lou Hayter (formerly of New Young Pony Club) adds cool and funny vocals to ‘Hard to Be Funky’; and Toronto rapper Cadence Weapon delivers an eloquent hip hop flow over the melancholy electro-soul tune “The Evil That Men Do.”

Freakout / Liberation effectively alternates between pathos and power moves. His catchy track list should also translate into the impulsive energy of their gigs (their upcoming tour includes a four-night residency at London’s Brixton Academy). It’s an ode to the loneliness of the late-night disco dancer and the unifying potential of beats, bass lines and rhymes.

★★★★☆

Freakout / Liberation‘ is published by Domino

‘Radio silence’: Ever After ticket holders await refunds

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“There has been absolutely no communication from the festival, and I don’t hope that changes,” says a dismayed Londoner

Ticket holders for the now canceled three-day electronic music festival that promoters had hoped to hold last weekend in Oro-Medonte continue to grow increasingly frustrated with the lack of communication from event organizers. events on how and when they will get their money back.

On August 12, the Ever After Music Festival “team” took to Instagram to let the “adventurers” know that an email had been sent with all the information they would need to get a refund.

The event, which was scheduled to take place Aug. 12-14 at Burl’s Creek Event Grounds, just north of Barrie, was canceled after organizers failed to receive township approval for the necessary special event permit. . Councilors rejected the permit, citing concerns over operational planning for the festival.

On August 16, festival officials posted an update on their Instagram account stating that refunds had started being issued, but could take 10-15 business days to be received.

“On Friday, ticket holders were supposed to receive an email about refund options. I (knew) about 30 or more people were going there and they all said no emails had reached them either,” 18-year-old Brianna Cloud said. BarrieToday.

Cloud, who had planned to travel nearly 300 miles from his home in Lambton Shores to Oro-Medonte for the festival, also says his wristband for the event never arrived, despite being told he was shipped over a month ago.

“The canceled event was very disappointing, as I had been looking forward to going to this festival since I was 16. But, with COVID shutting down everything, that didn’t happen,” he said. she declared.

Cloud also said the lack of communication from the organizers was “unprofessional”. After being ignored or never getting a real response, it was crazy considering the planning and money put into this festival. This was disrespectful considering how many people had the same experience with their response team.

She says the experience certainly impacted her decision to buy anything from Ever After or Unity Travel in the future, but noted that she still plans to attend the Lost Lands Music Festival, a similar type of festival in the future.

“There are a lot of festivals with a good reputation, but Ever After has definitely lost theirs. or what was left of it. I highly doubt anyone will buy from them in the future, if they try to have another festival again,” Cloud said.

Brandon Parker, who bought tickets for himself and his girlfriend as a Christmas present in 2019, said BarrieToday that despite statements posted by Ever After officials on social media, neither he nor anyone he knows who purchased tickets has been contacted or received emails from the organizers

Between tickets, camping and parking, Parker says he loses about $500 if he doesn’t get a refund.

“Obviously I would love to see the money refunded, although I know of other people who were supposed to attend the festival from out of the country who paid thousands of dollars including all expenses,” Parker said, adding that he had also never received a ticket or bracelet by post. “It’s really frustrating trying to get feedback from the organizers.

“I haven’t received any response to any of my email messages. On Instagram they blocked me from sending DMs (direct messages) to them.”

The 27-year-old London, Ont., resident said BarrieToday he had attended the festival in 2019 and had a great time.

“It’s a shame that the organizers didn’t organize the event well enough to make it happen. I doubt this festival will ever come back, but if it did I think their reputation is pretty much beyond repair and no one would be buying tickets,” Parker said.

Parker noted that past year ticket holders were supposed to receive a “free perk” including their choice of free merchandise, drinks or other products, but said that when he inquired about it last month, he simply received an automated response email telling him that he would receive a response within seven to 10 business days.

“I thought that was odd considering it was sent on July 16 and the festival was less than a month away at the time. A request as small as this shouldn’t take seven ten working days to respond, especially since the festival is less than a month away,” he said. “I never received a response to my emails regarding the benefit, or regarding a credit/refund.

“There has been absolutely no communication from the festival, and I don’t hope that changes.”

Until this year, the festival had taken place at Bingemans in Kitchener and was organized by Beyond Oz Productions.

BarrieToday learned that Beyond Oz Productions – which is also listed as ICC Global Property Development Inc. in a search of bankruptcy and insolvency records filed for bankruptcy on December 14, 2021, claiming over $5.6 million in total liabilities.

After being on hiatus for the past two years due to the COVID-19 pandemic, the event has been taken over and hosted by Unity Travel in hopes of moving it over 200 kilometers north of Oro Township. Medonta.

BarrieTodayAttempts to contact festival officials as well as Unity Travel were unsuccessful.

Andrea Calderon, aassociate director of the Get In! PR firm based in Brooklyn, NY, which handled the distribution of the official statement from Ever After Music Festival confirming the event’s cancellation, said BarrieToday in an email that she had heard nothing from the promoters since she originally communicated with their official statement on August 5. Calderon noted that she was achieving “complete radio silence” despite various attempts at contact.

“We can’t really do our job if we’re as in the dark as everyone else,” she said.

Nostalgix on His Dreams Label, Blistering Shambhala Music Festival, and More – EDM.com

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It’s been a little over a year since Nostalgix moved to Los Angeles, but you wouldn’t know that if you flipped through its accolades.

The rising house music producer and rapper has embarked on an extensive North American tour. She released a dizzying string of singles and remixes on House Call Records, Night Bass, Thrive and more revered dance labels. And last month, Nostalgix returned to its homeland of British Columbia to cross another iconic music festival off its to-do list.

EDM.com met the Vancouver native after her explosive debut at one of Canada’s most beloved electronic music festivals, Shambhala.

Nostalgix performs at by Shambhlaha Pagoda scene in 2022.

EDM.com: How is it to play your first Shambala coming from Vancouver, knowing the cultural relevance of this festival but having never been there?

Nostalgia: I just have to say it was really good. I feel really fulfilled and my soul feels really happy. It was just one of those sets that clicked and felt right. It was really a good time.

EDM.com: You really made them travel. How have you seen the importance and success of being your own singer in your own songs and how has this progressed in recent years?

Nostalgia: Honestly, I started singing along to my songs because I was tired of waiting for people to send me vocals. I’m one of those people who likes to do everything myself anyway, so I decided to give it a shot.

Over the past two years it has become a staple of my music and my sets. For me it just adds another layer of performance that I can do and another layer of who I am as a person outside of the beat that I produce.

EDM.com: Are there any artists you lend voices to?

Nostalgia: At the moment, I keep my voice mainly for my own productions. I’m taking the time to really focus on the Nostalgix sound and the next wave of what it’s gonna be. So I’m mainly working on my own voice and my own productions at the moment. There are collaborations that I can’t really talk about that are in the works.

Nostalgix at the 2022 Shambhlaha Pagoda stage

Nostalgix performs at by Shambhlaha Pagoda scene in 2022.

EDM.com: The last time we saw you was at FVDED In The Park last year. You have now been all over the United States and Canada. Where else have you played?

Nostalgia: I’ve toured North America, so mostly the US and Canada.

EDM.com: What is your favorite place to play in the United States then? Give us your top three.

Nostalgia: I have to say number one was EDC because I had to play three sets and it was the craziest time of my life. I’ve played Mainstage, StereoBLOOM and Corona Beach. It was just a crazy weekend.

Number two is New York. I love NY so much, I just think it’s one of the coolest places in the world. I totally saw myself living there but the energy was really crazy. I played there on the Confession Versus Night Bass Tour. It was really a big family atmosphere and I felt like I was part of something.

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And number three is one that people wouldn’t expect. But I did a show on the ARMNHMR tour in Fresno, California. The energy that night was something I had never seen before. It really felt like the crowd and I were on such a good vibe that we were “one”, having the best time ever. For me, everything clicked that night and it was really good. Oh and Shambala (laughs).

EDM.com: As you travel, you listen to new music, you update your sets. What do you think is going on right now, even if you’re not playing it? What genre are you paying attention to right now?

Nostalgia: At the moment, I vibrate with techno. Like you might hear a drop or two in a Nostalgix set but to me I think that’s very cool. It has a cool style and aesthetic. I’ve been on this vibe recently. Personally, I wouldn’t do techno, I just like the vibe.

Nostalgix on the Pagoda Stage, Shambhala Music Festival 2022

Nostalgix performs at by Shambhlaha Pagoda scene in 2022.

EDM.com: When can we expect Nostalgix in Europe so you can experience real techno? Amsterdam, London, Berlin, they are essential.

Nostalgia: That’s definitely one of my big goals, is to tour Europe. It will happen… I actually played ADE in 2018. Before I got an agent or a manager, I kind of acted as an agent and manager and sent fake emails for those roles , and I went there and was going to play the show. It was with Fraudulent Records and Morris Sir Blanc, so they were doing like a bass takeover.

So I thought that if I went to an ADE concert, I wanted to tour Europe. I filled in the tracks and reached out to all these clubs and booked myself a tour with about five shows. I did this show in the middle of a cave in Habblestat, Germany. Craziest thing I’ve ever seen. I want to do this again.

EDM.com: As soon as you cross the pond, it’s a whole other level. Especially ADE specifically. Well done AD!

Nostalgia: Well done to all the Europeans there! I think it’s just such a different energy there with the people, the culture, the food is amazing and all the places to see. It’s a cool thing to see and be a part of. One day we will come back to it.

EDM.com: Would you like to create your own label one day? And who would your top three signatories be if money wasn’t an issue?

Nostalgia: OK. No one has ever asked me these questions. That’s actually one of my long-term goals is to have my own label because I want to be able to bring in other artists and support upcoming talent. It’s cool to be able to create a community and something bigger beyond yourself.

I look at someone like AC Slater and what he did with Night Bass and how much he helped me when I was starting my career. It really makes me want to do it for others. But on whom would I sign? Michael Sparks is fire. AC Slater. Dr Fresh.

EDM.com: What’s next for Nostalgix?

Nostalgia: As for the show, I have a crazy summer tour going on right now. I will be performing at two festivals each week until the end of August. I’m really excited for every performance – they will all be unique and original in their own way.

Music-wise, that’s basically what I’ve been working on all week. I’m working on projects that I can’t really talk about right now. I’ve only been on tour for a year now and really channeled that energy of being on the go, having fun and meeting people. There’s been a lot of fun, upbeat energy around me and you’ll hear it in my records coming out later this year and next year. I’m in this fun era of my life and channeling that into my music.

Listen to Nostalgix’s latest single, “Heat Rush,” below.

FOLLOW NOSTALGIX:

Facebook: facebook.com/nostalgixmusic
Twitter: twitter.com/nostalgixmusic
Instagram: instagram.com/nostalgixmusic
Spotify: spoti.fi/2MOVm6U

Debt consolidation with a personal loan

Managing all your debts, with multiple due dates, interest rates, and minimum payment amounts, can be very difficult to keep track of. Missing a payment can hurt your credit score and your chances of borrowing money in the future.

That’s why consolidating all your monthly bills into one payment with a new personal debt consolidation loan can be a great way to simplify your financial life, keep your credit strong, and make it easier to pay off what you owe each month. . Of course, you should continue to pay all your bills on time until you have simplified the payment setup with your new loan.

How a Personal Debt Consolidation Loan Works

A personal loan is a debt product that can be used for almost anything. You will receive the funds in a lump sum and make monthly installments over a specified period. Additionally, personal loans are generally unsecured, which means that they are not backed by collateral and do not expose you to the risk of losing your asset.

Some consumers get personal loans and use the product only to consolidate their debts, which is why you will often hear the term “debt consolidation loan”. Using a personal loan to consolidate debt involves paying off all your credit cards, loans, and other debts with loan proceeds and making a manageable payment on your loan each month until it’s due. refunded.

Example

To illustrate, suppose you have the following credit cards:

  • Card 1 carries an APR of 15%, the minimum monthly payment is $25, and the outstanding balance is $500. (Payment term: 24 months; Total interest paid: $78)
  • Card 2 carries an APR of 17%, the minimum monthly payment is $30, and the outstanding balance is $750. (Repayment term: 32 months; Total interest paid: $182)
  • Card 3 carries an APR of 19%, the minimum monthly payment is $35, and the outstanding balance is $1,000. (Term of payment: 39 months; Total interest paid: $341)

If you take out a personal loan of $2,250 with a term of 36 months and an interest rate of 10%, your monthly payment will be $73, slightly less than what you are already paying. Plus, you’ll only pay $363.64 in interest over the term of the loan, a decrease of $237.36.

A personal loan can also help keep your accounts in good standing and maintain your credit rating if you have multiple types of debt. Being late on any of your payments, whether for a credit card or a student loan, can crush your credit score. It could also hamper your chances of borrowing money or getting competitive terms on debt products in the future.

Advantages of debt consolidation with a personal loan

Debt consolidation with a personal loan has several advantages that make it an attractive option:

  • One monthly payment: It can be difficult to keep track of multiple monthly debt payments. A debt consolidation loan simplifies your finances and allows you to make a single monthly payment.
  • Lower interest rates: Personal loans often come with higher rates than secured loans, but they can have lower rates than credit cards.
  • Pay off your debts faster: With a lower interest rate, you may be able to save money and pay off your debt sooner with a personal loan.
  • Improve your credit score: Using a personal loan to consolidate debt can improve your credit score by increasing your available credit, which lowers your credit utilization rate.

Disadvantages of debt consolidation with a personal loan

Although a debt consolidation loan has its advantages, there are also disadvantages that you should consider:

  • Potentially high interest rates: Personal loans generally have lower interest rates than credit cards, but personal loan rates can exceed 30% for borrowers with poor credit.
  • Additional upfront costs: When you take out a personal loan, you may be subject to loan origination fees. Other common charges may include prepayment penalties and late payment charges.
  • Could encourage more spending: Debt consolidation does not solve the fundamental problem of why you got into debt. If you consolidate your credit card debt with a personal loan, you may be encouraged to take on new debt.

When to take out a personal loan for debt consolidation

High-interest debt, such as credit card debt, could make you a good candidate for a debt consolidation loan, as personal loans tend to have lower interest rates than cards. credit. You might be a good candidate for a personal loan if:

  • You have strong credit: The better your credit, the more likely you are to qualify for a loan at the lowest interest rate. The lower your interest rate, the less you have to pay on top of the money you borrow.
  • You have a large but controlled debt: If your debt is large but you can make at least minimum monthly payments, a personal loan might be best for you.
  • Your expenses are under control: A personal loan will not help you if you do not control your expenses. This could put you in even more debt. Before getting a personal loan, review your finances to make sure you can afford the loan and pay off your debt.

When not to take out a personal loan for debt consolidation

Although a personal loan for debt consolidation can help you save money and get out of debt faster, it’s not always the best choice. Here are some cases where a loan would not be a good idea:

  • Your credit rating is low: It is possible to qualify for a personal loan if you do not have good credit. Unfortunately, chances are you’ll only be entitled to high interest rates, which could make the costs of consolidation outweigh the benefits.
  • You are not eligible for lower interest rates: If the personal loan rates available to you are higher than what you are currently paying on your debt, try other methods of settling your debt. Once your credit improves, you may qualify for debt consolidation loans with better terms.
  • You have trouble affording your minimum monthly payments: You could get a more affordable monthly payment by consolidating. However, if money is already tight and you are living check after check, you may find it difficult to make timely payments on a personal loan. So consider crunching the numbers before you apply to determine if it makes sense to take out a debt consolidation loan or if it’s better to ask your lenders or creditors to enroll in a hardship program (if applicable).

Other Ways to Consolidate Debt

If a personal debt consolidation loan isn’t right for you, there are several ways to consolidate your debts.

Home Equity Loan

If you own your home and your mortgage debt is less than the value of the home, you may be able to take out a home equity loan and use it to pay off your outstanding debt. A home equity loan is a type of second mortgage that lets you borrow against the equity in your home. You can use the lump sum you receive from your home equity loan to pay off all your outstanding debts, then make a single payment on the new loan each month.

For home equity loans, your home is secured. As a result, the lender views your loan as less risky, which means interest rates are generally lower than unsecured loans such as personal loans. However, you could lose your home if you fall behind or fail to pay off your home equity loan. Calculate the equity in your home to see if you would qualify to borrow enough to cover your outstanding debt.

Credit cards with balance transfer

You can try a balance transfer credit card if you want to manage a few credit card balances. Many cards offer 0% APR for a fixed term, usually 12-21 months.

It’s a great way to transfer all of your existing credit card debt into one manageable monthly payment. Remember that if you have a lot of credit card debt, you might not be approved for a balance transfer for the full amount you need. This means you could pay off your new card balance and any cards that couldn’t be transferred.

If you don’t pay a balance transfer credit card before the end of the 0% APR period, the card issuer starts charging interest.

Debt repayment strategies

You may need to manage your debt differently if you don’t qualify for a new loan or credit card transfer. If you haven’t already, start by organizing your debt on a spreadsheet. Write down each lender you owe money to, your current interest rate, the amount you owe, and your monthly due date. From there, you can try a few debt management methods:

  • Debt Snowball: This method focuses on paying off your smallest debt first. While making minimum payments on all other debt, you put all your extra money on the debt with the lowest balance. Once that’s paid off, you focus on allocating all of your extra money to the lower balance. Do this until all your debts are paid in full. The advantage is that you will see results quickly. The downside is that you might pay more interest on other higher-rate debt.
  • Avalanche of debt: This method focuses on paying off the debt with the highest interest rate first. You make minimum payments on all your other debts, then put all your extra money on the debt with the highest interest rate. Do this until the debt is paid off, then move on to the debt with the highest interest rate until all of your debt is fully paid off. Although you can save more money by paying off the higher interest debt first, you might not see results as quickly as with the debt snowball method.

The bottom line

A personal loan could be a great way to consolidate your debt, but it’s not necessarily the right method for everyone. Examine your debt situation and see if a personal loan would work better. Otherwise, try methods such as a home equity loan or a balance transfer or debt management strategy.

Learn more:

Cafuné’s playlist of songs that seamlessly blend songcraft and record making

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Six years after releasing their debut EP, singer Sedona Schat and producer Noah Yoo released their first full collection of dreamy indie-pop tracks last summer as Cafunewith Functioning building on the foundations laid by love songs for others while drawing inspiration from more contemporary pop sounds. In fact, this blend of modern glitz and Frou Frou-style 2000s electronic pop seems to have landed at the perfect time – over the past year, the duo’s single “Tek It” has been certified gold by the RIAA. , which led to a signing with Elektra Records. and a touring opening slot for CHVRCHES.

Amidst these dates, and before releasing any new tracks through their new label, we asked the duo to reflect on their songwriting talent by creating a playlist of tracks that perfectly combine the task of songwriting with the creative process of creating a record. . “Songwriting and record making are one, the same way the mixing process begins at arranging,” the duo explain. “These are tracks from our current rotation that blur that creative line in inspiring ways.”

Check out their picks below with words from Yoo and Schat, and find their remaining tour dates with CHVRCHES. here.

NOAH YOO

Porter Robinson, “Everything Goes On”

It sounds like one of the simplest songs Porter Robinson has ever put out in the best way. It’s as detailed as any of his past work while emphasizing vocal melody and chord progression above all else; definitely one of my favorite things he ever wrote.

Frou Frou, “A New Kind of Love (demo)”

Frou Frou’s songs are so well defined that this demo feels so listenable and complete, even in its relatively raw state. It has those classic Imogen vocal layers, bouncy pads and glitchy drums. Please, Imogen and Guy, a new feature!

Shirley Horn, “Here’s Life”

We recently spent some time listening to this recording and marveling at it, wondering what it must have been like to put it together. Johnny Mandel, the arranger, was one of the greatest of the 20th century; a true legend.

Charlie Puth and Jung Kook of BTS, “Left and Right”

Puth brings a lot of confidence to his writing, and that translates into some genuinely interesting and whimsical decisions. The defining feature of this track is that the vocal pans left and right with the corresponding lyrics – the kind of thing that might inspire a child to learn more about mono versus stereo, about recording, about writing songs.

John Carroll Kirby and Laraaji, “Dawn of New Day”

This is one of those instances where the instrumentation really sets the stage for the (relatively minimal) song within. JCK’s solo work has that fluid pastoral vibe, and his sound blends so well with Laraaji’s vocals.

Remi Wolf, “Michael”

Sedona put me on this one and it just became one of those songs I listen to all the time. The hard-hitting production does a lot of work, but there’s also this heartfelt longing for Remi’s manic lyrics that keep me coming back.

SEDONA SCHAT

Steve Lacy and Foushee, “Sunshine”

This song sounds like floating in the air. Each new section puffs up and spreads out so satisfyingly, and it never drags. I love the guitar sound at the end, the Rhodes and the keys, the vocal stacks, all of that.

altopalo, “I love it 4 u”

Rahm’s vocal processing and Haldeman’s guitar timbre feel so glued together. All sounds are crystal clear and vibrant with life. Always in awe of this band.

Soccer Mommy, “Shotgun”

Everything about this track sounds dirty and lived in, from the drums and riff to the way Sophie’s voice is pressed. I like the tangible, sensual details – “Coffee and menthol on your breath” – and a good old metaphor (“I’m a bullet in your shotgun”).

Yves Tumor, “The secret is incredibly important to both of them”

What is there to say about it beyond: huge piece. The sound, the atmosphere, the scale, everything in the recording is just perfect. “How can I miss you if you don’t go away” is also an amazing phrase.

Rayvn Lenae and Steve Lacy, “Skin Tight”

The. Vocal. Arrangement. There are so many moments in this song that are created by emphasizing specific words with backing vocals. The sneaky 6/8 time signature is the best.

Destroyer, “June”

We both love this band. The riffs sound like they could have come from any of their eras, and the commitment to the entire outro section is sublime. “Leave as the departure as the departure as one hydrogen bomb / And I give off a certain glow / You have to look at it from all angles, says the cubist judge in the cubist prison. A perfect marriage between absurdity and poetry.

Debt consolidation becomes more attractive – InsuranceNewsNet

There’s never a good time to have a lot of personal debt, but now would be one of the worst times.

Americans are increasingly relying on credit cards for everyday purchases and paying bills. Credit card balances jumped 13% last quarter from the same quarter in 2021, the biggest jump in more than 20 years, according to data from the New York Federal Reserve.

Since March, the Federal Reserve raised interest rates by a cumulative 225 basis points, or 2.25%. This helped push average credit card interest rates to nearly 18%, a record high since CreditCards.com started tracking it in 2007. A similar trend is happening with personal loans, mortgages and other forms of credit.

High interest rates make credit card and debt consolidation programs attractive avenues for consumers, said Bruce McClarySenior Vice President Membership and Communications National Credit Counseling Foundation.

These programs often advertise lower interest rates for combining all your debts and paying them off in one loan, but there’s more under the surface.

What are the disadvantages of consolidation?

Many lenders can offer borrowers lower interest rates on debt consolidation loans because they have longer terms. This could end up costing you more than if you didn’t go the debt consolidation route.

Debt consolidation companies may also charge additional fees such as a one-time loan origination fee and require you to pay a higher interest rate if you do not opt ​​for automatic payment.

“This additional cost over time on interest and fees could reduce your ability to build your safety net or save for a secure retirement,” McClary said. “So you don’t want to sacrifice your future for the present.”

Above all, debt consolidation is not “a silver bullet”, said Ismat Mangla, executive director of MagnifyMoney, a site that provides personal finance advice. The site belongs to LendingTree, an online lending marketplace.

While debt consolidation may ease some of your headaches now, if you don’t change any of the financial habits that got you into debt in the first place, you’ll just dig yourself a deeper hole, Mangla said.

She recommends contacting a nonprofit credit counseling agency like NFCC to discuss whether to consolidate your debt. They can also help you set up a debt management plan where you make a monthly lump sum payment to the nonprofit organization that makes payments to your creditors for you. In some cases, they are also able to negotiate lower fees and interest rates.

You can also contact your creditors and ask for a lower interest rate or terms that will make it easier to pay off the debt.

The savings you make can save you from having to take out a debt consolidation loan.

Does debt consolidation hurt your credit rating?

Debt consolidation does not inherently harm your credit score.

But if you apply for a debt consolidation loan (or any other type of loan), the lender must perform a “hard” credit check, which is recorded on your credit file. If you have a good credit rating, the inquiry should have a negligible impact on your rating. But if you have a bad credit score or have recently had several serious credit applications, your credit score could temporarily drop by up to 10 points.

It is important to research the rates before submitting an application. McClary recommends comparing rates and terms on sites such as NerdWallet Where The bank rate.

If you don’t make your minimum payment on time, your credit score will drop.

Is this a good idea? Who is eligible?

The answer largely depends on an individual’s credit score.

McClary said debt consolidation ads will often say, “‘you can get an interest rate as low as x’, but that interest rate may only be available to people with the best credit scores. “.

Typically, you’ll need a FICO credit score that’s in the mid-600s, according to The bank rate. In addition to credit scores, lenders also consider your income and other financial criteria.

Some lenders don’t specify a minimum credit score, but if you have a credit score below 600, you’re less likely to be approved. Or if you are approved, the interest rate the lender offers you will be higher than the advertised rate and they may not offer as large a loan as you need.

On the other hand, if your FICO credit score is 670 or higher, consider applying for a signature loan — an unsecured personal loan that likely has a better interest rate, McClary said.

What does debt consolidation mean?

Debt consolidation consists of taking out a new loan to repay several types of debt. It could also be used to pay off debt you have with multiple credit cards, also known as credit consolidation.

If approved, the lender will deposit the money directly into your bank account hoping that you will use it to pay off the debts you are consolidating or the lender will pay the balances for you.

Above all, it does not mean that you are debt free. You will be responsible for making a one-time, usually fixed, monthly payment to the lender.

Wet Ink Ensemble Announces Artists in Residence 2022-23

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New York-based new music group Wet Ink Ensemble announces its three new Artists in Residence: Obie Award-winning theater artist Rick Burkhardt, composer and drummer Vicente Hansen Atria, and saxophonist and songwriter Ingrid Laubrock.

The Wet Ink Ensemble’s first concert of the season will feature Burkhardt alongside Atria’s “alien chamber-folk” septet member Orlando Furioso at the world premiere of Kate Soper’s HEX at Roulette on Wednesday, September 14. 2022 at 7:30 p.m. The new work is a dramatic satire in which a new set of music inadvertently opens the gates to Hell.

The concert also celebrates Orlando Furioso’s self-titled debut album, released on Aguirre Records on September 9 with additional performances by the band, drawing the listener into a bizarre microtonal cosmos, where Andean melodies meet Renaissance tunes. Like a science fiction Dante, Atria’s band takes the listener on a tour of many diverse and colorful provinces of an extraterrestrial world.

The Wet Ink Ensemble Artist-in-Residence (AIR) Program provides an open platform for singer-songwriters to create new works for and with Wet Ink, perform with the ensemble, present their own projects solo and bands and working with Wet Ink’s open and collaborative model in any way they find meaningful. Previous AIRs include Charmaine Lee, Katherine Young and Nick Dunston.


Performance Details
HEX // Furious Orlando
Wet Ink Set
furious orlando
Wednesday September 14, 2022 at 7:30 p.m.
roulette | 509 Atlantic Avenue | Brooklyn, NY 11217
Tickets: $20 (pay what you can); free admission for students
Link: https://www.wetink.org/events/

Program:
Kate Soper – HEX [2022]a dramatic satire with music (world premiere)
Kate Soper, voice/piano
Rick Burkhardt, vocals/piano (Wet Ink Artist-in-Residence 2022-23)

furious orlando
Vicente Hansen Atria, drums / compositions (2022-23 Wet Ink Artist-In-Residence)
David Acevedo, trumpet
Andrew Boudreau, piano / harpsichord MIDI
Alec Goldfarb, amplified classical guitar
Daniel Hass, cello
David Leon, saxophone / clarinet
Simon Wilson, bass

Additional Works Performed by Orlando Furioso by Vicente Hansen Atria


About Wet Ink’s 2022-23 Artists in Residence
Vicente Hansen Atria is a Chilean composer and drummer based in New York. His music riffs on a wide range of idioms, from renaissance dances to Korean sanjo, creating lucid and futuristic sonic worlds. He has written for groups such as Sun Ra Arkestra, JACK Quartet, Wet Ink Ensemble, Yarn/Wire, TAK Ensemble, International Contemporary Ensemble, Bozzini Quartet, Science Ficta and Daedalus Quartet.

As a drummer and composer his music has been featured in a wide variety of venues and festivals including The Shed, moers Festival, MATA Festival, Re:Sound Festival, Festival Mixtur, ATLÁNTICX Festival, The Stone, Dizzy’s Club at JALC , Saint Vitus, Jazz Standard, DiMenna Center for Classical Music and Roulette, among others. His music has been released on Carrier Records, Aguirre Records and Endectomorph Music, and has been reviewed by publications including The Guardian, The Wire, Nettavisen, I Care If You Listen, Foxy Digitalis, Vinyl District and Which Sinfonia.

He is the recipient of an ASCAP Herb Alpert Young Jazz Composer Award (2022), an ACF Create Award (2021), The Shed Open Call Commission (2019), two funds from the Chilean Ministry of Culture Fondo de la Música (2022 and 2020), and ASCAP Morton Gould Young Composer Award finalist (2016).

He holds an DMA from Columbia University, where he studied with Fred Lerdahl, Georg Haas, George Lewis and Zosha Di Castri. Vicente currently leads experimental chamber folk septet Orlando Furioso, also performs with collaborative trio Family Plan, improvises electronic music with Buen Clima as Tronador, and designs instruments with Mat Muntz for The Vex Collection, an alternative historical ensemble. .

Rick Burkhardt is an Obie Award-winning composer, performer, playwright, and director whose music, theater, and original lyrics have been performed in more than 40 U.S. cities, as well as in Europe, Canada, Mexico , Australia, New Zealand and Taiwan. He studied music composition at Harvard University, the University of Illinois, and the University of California, San Diego (lead instructors Chaya Czernowin and Herbert Brün) and playwriting at Brown University (instructor Principal Erik Ehn).

Rick Burkhardt’s work has been supported by grants from Chamber Music America, ICElab, New Music USA, Meet the Composer, Jerome Foundation, Lower Manhattan Cultural Council, Millay Colony, Thomas Nee Commissioning Grant, Boswil Foundation, DAAD and US-Mexico . Fund for Culture, as well as private commissions and festivals. Presenters and curators include Lucerne, Donaueschingen, Wien Modern and Darmstadt festivals, American Repertory Theatre, New York Theater Workshop, LaMama NYC, PS-122 and ensembles such as Yarn/Wire, International Contemporary Ensemble, Wet Ink, PopeBama, radical2 , Ensemble Dal Niente, thingNY, line upon line, Hand/Werk, sfSound, Ensemble SurPlus, La Jolla Symphony Orchestra, Olympia Chamber Orchestra and Ensemble XII. He received “Best Play” awards at the San Francisco Fringe Festival and the New York Frigid Festival, as well as an Obie Special Citation Award for the musical theater work “Three Pianos”.

He is co-founder of the Nonsense Company, a traveling experimental music/drama trio, and Prince Myshkins, a traveling satirical folk/cabaret duo. His original songs have been recorded and performed by singers across the United States and received national airplay on Pacifica Radio’s “Democracy Now” and NPR’s “Morning Edition.” He lives in Brooklyn.

Ingrid Laubrock is an experimental saxophonist and composer, interested in exploring the boundaries between musical realms and creating multi-layered, dense and often evocative soundscapes. A prolific composer, Laubrock has been called “a true visionary” by pianist and Kennedy Center artistic director Jason Moran, and a “fully engaged and visionary saxophonist” by The New Yorker. Its composition Vogelfrei was named “one of the 25 best classic tracks of 2018” by the New York Times.

She has worked with: Anthony Braxton, Muhal Richards Abrams, Dave Douglas, Kenny Wheeler, Jason Moran, Tim Berne, William Parker, Tom Rainey, Mary Halvorson, Kris Davis, Tyshawn Sorey, Craig Taborn, Andy Milne, Luc Ex, Django Bates ‘ Human Chain, The Continuum Ensemble, Wet Ink and many more.

Awards include BBC Jazz Award for Innovation in 2004, Arts Foundation Jazz Composition Fellowship in 2006, SWR German Radio Jazz Prize 2009, German Record Critics Quarterly Award 2014, Downbeat Annual Critics Poll Rising Star Soprano Saxophone (2015), Rising Star Tenor Saxophone (2018) and Herb Alpert/Ragdale Prize for Composition 2019.

Ingrid Laubrock has received composition commissions from The Fromm Music Foundation, BBC Glasgow Symphony Orchestra, Bang on The Can, Grossman Ensemble, The Shifting Foundation, The Robert D. Bielecki Foundation, The Jerwood Foundation, American Composers Orchestra, Tricentric Foundation, SWR New Jazz Meeting, The Jazz Gallery Commissioning Series, NYSCA, Wet Ink, Stone Commissioning Series by John Zorn and EOS Orchestra.

She is the recipient of the 2019 Herb Alpert Ragdale Prize in Music Composition and the 2021 Berklee Institute of Gender Justice Women Composers Collection Fellowship.

Ingrid Laubrock is a part-time professor at The New School and Columbia University. Other teaching experiences include improv workshops at Towson University, CalArts, UC San Diego, UC Irvine, Baruch College, University of Michigan, University of Newcastle and many more. Laubrock was improviser in residence 2012 in the German town of Moers. The position is created to bring creative music to the city throughout the year. In this context, she regularly directs an improvisation ensemble and leads sound workshops in elementary schools.

The Wet Ink Ensemble is a collective of composers, performers and improvisers dedicated to adventurous musical creation. Named “The Best Classical Music Ensemble of 2018” by The New York Times, Wet Ink’s work is rooted in a philosophy of collaborative innovation, spanning music and the unique performance practice developed in the “group” atmosphere of the basic set of Wet Ink. of singer-songwriters, to projects with a wide range of high-profile creators, from Evan Parker to George Lewis to Peter Ablinger, and engaged interpretations of the music of young and underrepresented composers, the most emerging voices of today to the next generation of artists.

Praised for its “sublimely exploratory” (The Chicago Reader) and “dense, wild, yet artfully controlled” (The New York Times) performances and “the uncompromising original music of its members, and its unwavering belief in the power of collaboration (The New Yorker), Wet Ink has been presenting new music concerts at the highest level in New York and around the world for more than 20 years. Wet Ink’s programming celebrates the connection between composition, improvisation and performance, from early collaborations with Christian Wolff and ZS to pioneering portrait concerts of Peter Ablinger, Mathias Spahlinger, Anthony Braxton and AACM composers, working with creative musicians renowned artists such as Ingrid Laubrock, Peter Evans, Darius Jones and Katherine Young, and long-term collaborative projects with the four acclaimed member-composers of Wet Ink (Alex Mincek, Sam Pluta, Kate Soper and Eric Wubbels). In May 2020, the ensemble launched Wet Ink Archive, an online journal of adventurous music featuring writings and recordings from a wide range of artists (please visit archive.wetink.org).

Wet Ink has been in residence at institutions such as Duke University, EMPAC (Experimental Media and Performing Arts Centre), Columbia University, Royal Academy of Music (UK) and The Walden School, among others, and has featured on many many recordings. . Highlights include TEXTUREN by Katharina Rosenberger, which won a German Record Critics Award, and solo records by Alex Mincek (Torrent), Kate Soper (IPSA DIXIT), Sam Pluta (Broken Symmetries), Eric Wubbels (Piano Duets, Book 1), and Josh Modney (Engage), all of whom have been celebrated on various “Best of” lists by The New York Times, The New Yorker, Bandcamp Daily, Sequenza 21, and The Nation. Wet Ink has released four acclaimed solo albums (Wet Ink Ensemble; Relay; Wet Ink: 20, which includes the Wet Ink Large Ensemble; and Glossolalia/Lines on Black).

Wet Ink is co-led by an octet of world-class composers, improvisers and performers who collaborate like a band, writing, improvising, preparing and touring pieces together over extended periods of time. These directors are Erin Lesser (flutes), Alex Mincek (saxophone), Ian Antonio (percussion), Eric Wubbels (piano), Josh Modney (violin), Mariel Roberts (cello), Kate Soper (vocals) and Sam Pluta (electronics) . The Wet Ink Large Ensemble is a group of extraordinary musicians from New York who come together to play the most exciting and innovative music in the world. Learn more at www.wetink.org.

Akai MPC Key 61 reviews

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Akai MPC Key 61: What is it?

Akai released his MPC live hardware sampler/synth back in 2017 – complete with 7-inch touchscreen, 16 MPC-style pads, instruments and battery power, and in 2020 the MPC Live II added built-in speakers.

The MPC line – Live I and II, MPC X, MPC Studio, MPC Touch and MPC One, interact with Akai’s MPC 2 production software. Akai has bundled the same software and functionality in different forms, which makes sense from a development perspective – in fact, they share the same manual. Now 2022 introduces the MPC Key 61.

Like all MPCs, the Key 61 is a sampler using the supplied instruments or building custom instruments based on groups of sample keys. It can play sequenced patterns and full songs. Keys, pads and other controls add a tactile element.

The box contains the MPC Key 61, a mains power cable, a USB cable, a printed quick start guide and information on downloading and registering the software.

It is considerably larger than other MPCs and you will need a case or bag. Like any workstation these days, the 7-inch touchscreen is at the heart of the user interface. Physical controls include pitch and mod wheels, a touch strip, 16 pads (hey, it’s an MPC), five knobs, and an assortment of knobs, including pleasingly chunky transport controls.

The rear panel features, from left to right, expression, footswitch and sustain pedal inputs, MIDI Thru/Out/In DIN connectors, eight cv/gate outputs for connecting analog gear, two mic inputs /line with 48v gain controls and switches, four 1/4″ outputs, 1/4″ headphone output, two USB-2 ports, one USB-3 port, Ethernet network connection and AC power button.

The semi-weighted keyboard is equally comfortable for playing synth parts or more traditional piano-style performances, and the pads are classic, reliable MPC style.

The MPC Key 61 includes several new instruments from AIR Music Technology. The Fabric Collection is an instrument that has been organized into separate plugins to save system resources – so it appears as Fabric (with fewer voices), Fabric XL (the full flagship version), Fabric Piano and Fabric Electric Piano.

Fabric is a monster sound source, particularly suitable for modern sounding productions, with synths, pads, basses and leads, even guitars. Also new is the OPx-4 which narrows the lens somewhat, with a four-operator FM synthesis engine, creating demonstrably digital sounds, with a modulation matrix and built-in effects; we like the sound of the FM synthesis, and it’s a great example – and we enjoyed using the touchscreen to adjust the envelopes.

Akai MPC 61 key

(Image credit: future)

The remaining new instruments break out of the “electronic music” mold – Stage Piano, Stage EP, Organ and Studio Strings, which sound great, ranging from solo instruments to full ensembles, with plenty of options for expressive playing.

Strings can be difficult instruments to sound “naturally”, but these are exceptional. These are the kind of sounds that will make the MPC Key 61 interesting for all types of players.

Standard MPC instruments are also present and of course, bearing in mind that we are dealing with an MPC product, there are many sample-based drum extensions ready to play on these pads.

Keep experimenting with the Mod Wheel, Touch Strip, XY Pad, and Q Link buttons as you navigate, most presets have some sort of pre-configured interaction.

Akai MPC 61 key

(Image credit: future)

Akai MPC Key 61: Performance and Verdict

We connected a dynamic mic to input 1 and set a level on the physical gain control – there are also separate 48v switches on each input, if you prefer condenser mics (we would have liked two more audio inputs, although third-party USB audio and MIDI interfaces can be connected, so you can get up to 32 audio input/output channels, although you still have a maximum of eight audio tracks per project – we’ve tried this with success with a Behringer UMC1820 interface).

Audio inputs can go directly to an audio track, for DAW style recording, or to the Sampler, or Looper. Up to four insert effects can be applied to any pad track. These are categorized by type, for example, Delay/Reverb, Dynamics and Modulation.

New effects include Flavor (for vinyl-style sound degradation), Limiter and Vocal Suite, which includes pitch correction, doubling and harmony effects – we had a lot of fun with these – gravitating towards the blatantly excessive at first, but then settle in and enjoy them as useful treatment tools.

Akai MPC 61 key

(Image credit: future)

There’s also an Amp Sim, and we tried it out with an electric bass and an electric guitar. We have our favorite modeling solutions, but the MPC Key 61 did just fine, with bass amps ranging from clean DI style to grungy retro tube amps and cabinets, and guitar amps ranging from clean to rock. crisp and beyond (but not much in the way of high gain metal styles).

The MPC Key 61 puts the instruments front and center, but rest assured, sampling and beat-making are still there, as with all MPC devices. Samples can be imported or saved directly, as mentioned earlier.

They can be edited, cropped and played from the MPC pads or keys, and they can be used to create a keygroup – a playable instrument built from layering samples, instruments and effects together , and saved as a single preset.

Also consider

Roland at Synthweek 22

(Image credit: Roland)

Roland Phantom-06 (opens in a new tab)
Roland’s premium workstation series features powerful stepper LFOs, a multi-mode analog filter/drive, and excellent sequencing, sampling, and effects.

Yamaha Mount 6
The Yamaha Montage is non-sampling, but otherwise it’s an impressive synthesis and sequencing workstation.

We’re big fans of using keygroups to build a library of unique sounds and they combine well with the included instrument library for those who are phobic of exclusively using “factory” sounds.

Sequences are the building blocks of MPC arrangements. MIDI notes and automation can be added via recording from keys or pads, drawn in the grid using the screen, or entered with the step sequencer (ideal for drums in particular ), or even the event list editor.

Sequences can be copied, renamed and edited, then chained together to create an arrangement. They can also be “flattened” into a new song-length MIDI clip that contains everything, which is a bit more like viewing a DAW timeline.

Akai MPC 61 key

(Image credit: future)

The MPC allows up to 128 MIDI tracks and eight audio tracks per project. Even if a 32-channel USB interface is connected, the maximum simultaneous recording is eight tracks. After creating a number of songs, they can be organized together in a setlist, so that they are more accessible during concerts.

Could you do an entire show live? Yes. Could you do an entire album? Yes.

The MPC includes support for Ableton Link, enabling wireless synchronization with compatible hardware devices or software. We had no sync issues with Ableton Live and Korg Gadget, working well together. For big gigs where a wireless connection might not be the best choice, the Ethernet port may come into play, as Link works on it as well.

The MPC Key 61 could last a lifetime as a standalone instrument, but it includes a license for MPC 2 DAW software, available for macOS and Windows. It’s basically a software version of what the MPC does, but with the benefits of a larger screen and greater processing resources.

Akai MPC 61 key

(Image credit: future)

This integration allows projects to be exchanged between hardware and computer, and even to other MPCs. For users who are already tied to their favorite DAWs, all is not lost as the MPC 2 install also includes a plugin, so it can be accessed in Ableton Live or Logic or other DAWs.

Workstation keyboards once ruled the roost, and there are still a number of them among the big players – see our sidebar. Akai brings its expertise in sampling, pads, accessibility and interface experience from previous MPC models. It’s probably more user-friendly than its rivals, where their undoubted power is reflected in their complexity, and it’s much more affordable too.

The truth is that with the richness of built-in content and sampling, you can create any type of music with it. Could you make an entire album with MPC Key 61? Absolutely. Could you do an entire show live? Yes. The Akai MPC Key 61 is a box to do everything

MusicRadar verdict: A logical progression for the MPC series – a missing link for many users looking for a keyboard. Powerful, easy to use and great sound.

Akai MPC Key 61: The web says

“The MPC Key isn’t just an MPC with a keyboard, it’s a whole new breed of production workstation.”
sound on sound (opens in a new tab)

“Make no mistake, though, the MPC Key 61 is a true studio and stage showpiece, and should be serious competition for Roland’s Fantom and Korg’s Kronos.”
MusicTech (opens in a new tab)

“It wouldn’t make sense to buy an MPC stick if you’re not using it to sample and sequence things. It’s an MPC, after all.”
Gear news (opens in a new tab)

Akai MPC Key 61: hands-on demos

Akai Pro

Loop

Darrick Bowling

state of the chimera

Akai MPC Key 61: Specifications

Akai MPC 61 key

(Image credit: future)
  • 61 semi-weighted keys with aftertouch
  • 6 MPC-style velocity-sensitive pads
  • Wireless connectivity via Bluetooth and Wi-Fi
  • 7″ color touch screen
  • MIDI, CV/Gate, Ethernet and USB I/O
  • New software instruments
  • Built-in sampling and sequencing capabilities
  • Built-in audio effects from Akai and AIR Music Technology
  • CONTACT: Akai Pro (opens in a new tab)

Scottish Ballet’s Coppélia turns classic Dollmaker dance into parable of AI – review

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Ballet has found a way to combat the lure of sentient robots. In three years, two companies have reinvented Coppelia, an 1870 comedy inspired by automated dolls, for this purpose. According to Jean-Christophe Maillot Coppel-iA for Les Ballets de Monte-Carlo, it’s Scottish Ballet’s turn to dive into artificial intelligence, with a world premiere at the Edinburgh Festival (at the Festival Theatre) orchestrated by Morgann Runacre-Temple and Jessica Wright, alias Jess and Morgs.

There are similarities between these two new Coppelias, starting with sterile all-white ensembles and the notion that humanoids are the next frontier for mad inventors. In keeping with the theme, however, Scottish Ballet’s version is technologically more ambitious than Maillot’s. Jess and Morgs specialize in dance films, and they weaved pre-recorded scenes and live footage into the show, projected onto the sets.

Dr. Coppélius, once a lonely doll maker, is recast here as a baby-faced tech guru in a turtleneck, founder and CEO of a company called NuLife. He receives a visit from the journalist Swanhilda, who questions him about his ethical negligence. Both of their conversations take place in voiceover as the dancers try, and don’t quite succeed, to play them believable. Soon, Swanhilda finds herself wandering the halls of NuLife, encountering the company’s many laboratory creatures, and at one point transforming into one. (How? Don’t ask.)

Video footage is projected onto the sets © Andy Ross

Is it a real augmented ballet? Yes and no. The action is clear and fast, aided by Mikael Karlsson and Michael P Atkinson’s propulsive mix of orchestral and electronic music, which features witty nods to Léo Delibes’ scintillating 1870 score. Live filming tricks are already overused in contemporary theatre, but they’re relatively new to ballet, and cameraman Rimbaud Patron followed the fluid but somewhat repetitive choreography seamlessly.

It’s the lo-fi drama that’s tripping this up Coppelia. In the 19th century libretto, Swanhilda had a fiancé, Franz, who became obsessed with a doll. Jess and Morgs have dreamed up an unlikely story to keep him around: 21st-century Franz shows up with his journalist girlfriend at his work event, holding her hand throughout. The two open and close the ballet, but their relationship has no context or substance.

Constance Devernay-Laurence, a dancer with a penetrating dramatic intelligence, has more to say like Swanhilda facing Dr. Coppélius. As the founder of NuLife, Bruno Micchiardi leans into evil comedy at times, in ways the production could have gone deeper into.

His creatures are saddled with plastic diapers and matching crop-tops, but the scenes in which they come to life are choreographically the most inventive, with eerily distorted classical steps for Scottish Ballet’s fiercely committed dancers. . Despite its inconsistencies, this Coppelia is an ambitious effort by the company – and shows that ballet is perfectly capable of theatrical experimentation in the 21st century.

★★★★☆

August 16, then tour in Scotland in September/October, scottishballet.co.uk

Haley Johnsen Reflects on Her Future on Her New Album ‘Goner’

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After a tumultuous year in 2019, the recording of an acoustic album at Abbey Road studios (Session in London, live from Abbey Roadreleased later in 2020), releasing her debut golden days, and getting engaged in early 2020 – the pandemic hit and the momentum stalled. Haley Johnsen finally found herself in the middle of an existential crisis in 2021. Trying to untangle the creativity cascade, the Oregon-based artist chained herself to a vintage metal trailer, dubbed The Sou’wester Lodge, in Seaview, Washington, and wrote what would become the title track and foundation for his new album goner.

“It was about the novelization of nostalgia, the yearning for what was once our youth and also the fear of death,” Johnsen shares with American songwriter about “Goner” and the basis of the new album. “It’s about my own inner struggle, trying to stay present and at peace with who I am now, where I am now, and realizing that my child self is still very much alive within me. It’s a reminder that I don’t need to be afraid or unsure of where I am in my life.

goner cascades over loss and grief and mends one’s soul in nostalgic drops of time, all carried by cutting-edge ’80s synth-pop and brushstrokes of thoughtful ballads from the opening title track, ruminating on youth days and missed opportunities from the previous year—Today I again mourned my youth / Engulfed in the deep end / Engulfed in the deep endFalling apart without fighting it / All my fears and I could have been / Further than they ever were. The album moves forward on the vibes of “Common Ground” and the more upbeat pop of “Renegade.”

‘Renegade’ is about fully stepping into who you are and what you’re meant to do in this life, which I think is one of the most rebellious and rebellious things we can do,” Johnsen tells about the anthemic song. “I needed to write this song to remind myself that even though I still sometimes struggle with my self-esteem and self-confidence, I’m still brave enough to keep pushing forward and follow my dreams.”

In spurts of insecurities and longings for the better parts of life, goner wades through mental heights of clarity, breaking from the confinement of the country ballad “Emily” to the drum-filled “Focus,” with whispers of what sound like retro Casio looping effects. Memoranda of letting go fuel ‘Higher’ and ‘Timeless’ and the transition through the easier listening of ‘Falling Anyway’ and ‘Make it Heaven’ and the closer acoustic pin ‘Stopped Making Sense’.

Johnsen talked about the making of goner and why she understood that songs don’t always have to be autobiographical.

American songwriter: when did goner start assembling for you after golden days?

Haley Johnson: Many songs for goner were written just before and during the pandemic. I wrote a handful – ‘Wrong Way’, ‘Renegade’, ‘Falling Anyway’ – while on tour as bassist for Big Wild in the fall of 2019, [and] 2020 left an optimal time for introspection, so many songs were written at home and on a solo retreat I took to a vintage trailer park on the coast called The Sou’wester Lodge (” Goner”, “My Brother”).

AS: Some of the songs from 2019 were made for you. Why did they still resonate with you for goner?

HJ: The songs all seem a bit old to me now. I started going out of style over the summer of 2020 and finally entered the studio in January 2021. Come to think of it, “Emily” was the first song I wrote from that collection in summer 2019. This song has such a timeless message that a lot of people can relate to, I was so excited to finally have it properly recorded even though it was a year and a half old.

AS: goner was born out of a particularly thoughtful time for you. What is for you the common thread of these 12 songs?

HJ: 2019 was one of the most epic and exciting years of my career. I was constantly on the road and climbing this huge peak. At the same time, I was exhausted and struggling quite badly with my anxiety. It’s crazy how much your nervous system affects your mental health. I was both on top of the world and at the same time fighting my own inner critic who was telling me I wasn’t good enough to live my dream. I kept writing songs that reminded me that I deserved it and worked hard for it. Fast forward to February 2020: I emerged from my second solo tour across Europe freshly engaged, only for life to come to a screeching halt. During the pandemic, it was so hard not to just want to check in and numb yourself to get through the days. I continued to write songs of longing for presence and peace, even at an unfamiliar and scary time. A desperation of joy and gratitude for who I was and where I was. Through this, I also wanted to write songs to inspire others to carry on in the midst of uncertainty.

AS: Why was it goner the best as a title?

HJ: The choice of the title was not something easy. I think I went back and forth on a few titles for about six months until I finally couldn’t wait any longer. In my belly it was always goner. The song “Goner” was the first song I wrote and the first single I released that kind of set the soundscape for the rest of the album. But thematically, the word ‘gone’ represents the idea of ​​not giving up on yourself. It’s about consciously making the choice to do the work of letting go of what no longer serves you. Let go of what keeps you from being at peace. I can’t say what it is for everyone, but for me it’s about trying to be more present and finding joy with who and where I am right now. It is a statement of self-love and self-acceptance. It is an encouragement not to get lost too long in the misfortunes of human experience.

AS: Musically, sonically, was there anything you wanted to approach differently on this album?

HJ: Once I recorded “Goner” with Cameron Spies (who has played with Oregon bands Radiation City and Night Heron), I knew the direction was going to be playful, nostalgic and eclectic. The studio I used in Portland called Trash Treasury had a plethora of vintage gear and synths, so a lot of those 70s and 80s derivative sounds ended up on the album. Golden Days was much more of a singer-songwriter with full, classic band arrangements. I wanted goner just being a little more off the beaten track than what I’m used to for my music.

AS: Sometimes songs change meaning over the years, and even in a very short time. Were there any older songs or goner tracks that have changed considerably from the time you wrote them until today?

HJ: My song “Weekend” [off Golden Days] was actually written about people in my life who may or may not have been bad influences to me at one time or another. I’m the type of person who finds it hard to say no at a good time, but as I got older I learned to respect my limits and make better decisions for myself. But when I perform “Weekend” now, to me, it’s a fun, upbeat song to remind my audience that we’re here to have a good time, even if it’s a Monday night. It allows people to engage with each other, smile and dance.

“Higher” is a song that came out on the album in a different and much cooler way than I ever imagined. Originally it was a demo on an acoustic guitar with a bass line underneath. What it became was a lush soundscape that blends electronic and organic instrumentation. It’s one of my favorite productions on the album.

AS: How do you think you’ve evolved as a songwriter since through the blue or even When you light up the sky (2015) ?

HJ: I was such a fresh songwriter when I wrote these albums. I think the hardest part of songwriting is being able to use specific imagery or metaphors that paint a clear picture of what the song is about, allowing people to really relate to the song. I find that my old songs are good but lack a bit of clarity and precision. I always want my songs to have a deeper message, but I used to write using colorful language to say the same thing over and over, rather than letting the song be an evolving story. A lot of my songs are very autobiographical, but I tried to branch out and write more songs for or about other people. As for my songwriting method, it usually always starts with a vocal melody idea, followed by the chord progression, followed by the placement of the lyrics. I rarely write songs that start with a guitar riff or have the chords written before the melody.

AS: Now that goner came out, what kind of stories/songs do you turn to now?

HJ: A lot of what I find coming out of me now are road-inspired songs and vulnerable classic Haley songs. To be honest, though, most of the new stuff I write doesn’t have lyrics yet, but it’s almost entirely made up in my brain. I’m starting to hear what the next era of Haley will look like. Now I just need to take the time to do the work and finish it.

Photo: Mandie Model / Patrick Ermlich PR

Size, Share, Analysis, Regional Outlook and Forecast 2022-2028

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The latest research report on Electronic Paper Screen market takes the reader through every crucial aspect that impacts the trajectory of the industry and assists in making appropriate decisions for the future. It also provides information about the past business scenario as well as the recent developments in the marketplace. Further, it thoroughly studies all markets and sub-markets, laying key emphasis on areas that will play an important role in the industry progression in the forthcoming years.

As per expert analysts, Electronic Paper Screen market size is projected to exhibit significant growth over 2022-2028, registering XX% CAGR throughout.

Proceeding ahead, the research literature casts light on the aftermath of COVID-19 pandemic on the organizations operating in the vertical, stating challenges and restraints like variations in supply chain, changes in consumer preferences, and imbalances experienced in business operations. It also suggests multiple action plans to stay afloat amid this turbulence and generate strong revenues in the ensuing years.

Request Sample Copy of this Report @ https://www.newsorigins.com/request-sample/47250

Importantpointers from Electronic Paper Screen market report:

  • Current state of COVID-19 and its effect on industry compensation scope
  • Market and submarket growth rate estimates
  • Dominant trends
  • Rewarding tracks
  • Advantages and disadvantages of direct and indirect sales channels
  • Main suppliers, traders and resellers

Electronic Paper Display Market Segments Covered in the Report:

Regional bifurcation:

  • North America (United States, Canada and Mexico)
  • Europe (Germany, France, UK, Russia, Italy and Rest of Europe)
  • Asia-Pacific (China, Japan, Korea, India, Southeast Asia and Australia)
  • South America (Brazil, Argentina, Colombia and rest of South America)
  • Middle East and Africa (Saudi Arabia, United Arab Emirates, Egypt, South Africa and Rest of Middle East and Africa)
  • Country level review of the market in each region
  • Overall revenue and sales of each region
  • Share of industry captured by top regional contributors
  • Approximations of the growth rate of each regional market over the assessment period

Product Types: Rigid e-Paper Display and Flexible e-Paper Display

  • Revenue, sales and industry share of each product segment
  • Pricing model of each product type

Application spectrum: retail, business, banking, healthcare, education and transportation

  • Cumulative revenue and sales generated by each application field
  • Product pricing based on application spectrum

Competitive Scorecard: E-Ink Holdings, Embedded Artist, Seiko Epson, SONY, AU Optronics, BOE Technology Group, LG Display, Opalux, Plastic Logic, Samsung Display, and Visionox

  • Products and services offered by the main players
  • Manufacturing facilities of leading companies in areas served
  • Accounts of price models, revenue, market share, gross margin and sales of well-known organizations
  • SWOT assessment of top candidates
  • Emerging companies and new entrants to the vertical
  • Summary of winning strategies employed by top companies
  • Definitive information on market concentration rate and commercialization rate

Research objectives

1) To study and analyze the global Electronic Paper Display consumption (value) by key regions/countries, product type and application, history data from 2016 to 2022, and forecast to 2028.

2) To understand the structure of Electronic Paper Display market by identifying its various subsegments.

3) Focuses on the key global Electronic Paper Displays Market manufacturers, to define, describe and analyze the value, market share, market competition landscape, Porter’s Five Forces Analysis, l SWOT analysis and development plans over the next few years.

4) To analyze the Electronic Paper Display with respect to individual growth trends, future prospects, and their contribution to the total market.

5) Share detailed information on key factors influencing market growth (growth potential, opportunities, drivers, industry-specific challenges, and risks).

6) To project the consumption of Electronic Paper Screen submarkets, with respect to key regions (along with their respective key countries).

7) Analyze competitive developments such as expansions, new product launches and acquisitions in the market.

8) Strategically profile key players and thoroughly analyze their growth strategies.

Customization request for this report @ https://www.newsorigins.com/request-for-customization/47250