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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.


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.

Dubfire talks about their first electronic album, EVOLV


The veteran electronic artist talks about transporting us out of this world with his debut album, EVOLV.

While many are looking to ditch their first project in the early stages of their careers, Dubfire is just doing that, some three decades after its whirlwind turn in the music industry. Looking to serve up a full project for the first time, the electronic artist promises intergalactic sensibilities and sounds ahead of their time in the wild on the album. EVOLV. And, with single “Elevation” offering all of the above and more, it’s safe to say that Dubfire has garnered some serious excitement around their upcoming project.

“Many have felt the need to try and gain validation or acceptance as a ‘serious’ artist by making albums that don’t represent what they are known for or what they express in their DJ sets. “, explains the artist of the industry that he is. operating in. “EVOLV was always meant for the dance floor. The only difference is that the collection of tracks felt and sounded like they came from the same creative space. So in that regard – and in the interest of the excitement of an album campaign – I decided to release them as such.

Ahead of the album’s release, the artist spoke to Wonderland about what we can expect from his upcoming shows and why he’s waited until now to release his first fully formed project. Head below to enjoy our interview with Dubfire…

Hi Ali, thanks for talking with us in Wonderland. Let’s start with your plans this weekend – where can we find you playing and where are you talking to us from today?
My pleasure! This weekend I will be playing Lick in the Algarve as well as the first big Weekender Brunch event in my home town of Barcelona with Ellen Alien, Deborah de Luca and Renato Ratier. I eagerly await both!

The pandemic has hit the music industry very hard, we kicked off 2022 with shows and festivals back on the schedule for many in full force. What have been your highs and lows for the year so far?
Although we are all very happy and relieved to be back on the road, it has been difficult to acclimatize to the weekly routine; namely travel conditions that are far less ideal than in pre-pandemic times, as airlines and airports grapple with staffing issues and more passengers than expected. But the shows were amazing, and it was nice to see so many people coming back to the dance floor to feel that common energy.

You have been in the electronic music industry for most of your life, what do you think you would be doing if you weren’t a producer and DJ?
I always said I probably would have been a chef, a restaurateur, or probably done something in the film industry. It is important to pursue a career that you are truly passionate about.

We had the chance to listen to your new album EVOLVwhy after all this time did you decide to release your first album?
To be honest, I’ve always seen electronic music albums as a kind of excuse for eccentric and indulgent behavior. Many have felt the need to try to gain validation or acceptance as a “serious” artist by making albums that do not represent what they are known for or what they express in their DJ sets. EVOLV was always meant for the dance floor. The only difference is that the collection of tracks felt and sounded like they came from the same creative space. So in that regard – and in the interest of the excitement of an album campaign – I decided to release them as such.

Can you tell us what you want the listener to feel from this album?
The song titles all refer to space travel or galactic wonders, so I guess like the music, I wanted the listener to feel like they were floating through the universe, passing through distant planets and galaxies .

Do you have a favorite track? And if so, why ?
I think “Dark Matter” represents some of my best work. Moody, trippy and dark, it’s not obvious techno music in any sense of the word. I think I was expected to post something like the current hyper-fast constant crash formula, but that would have been far too predictable and boring.

Inspiration comes in many forms, is there someone or something that has been a constant source for you from the start?
Carl Craig and Richie Hawtin were probably my two closest and favorite soulmates. They have wowed not only me, but also audiences around the world for many decades and continue to raise the bar in electronic music and performance.

It will be released on your SCI+TEC label. What was the vision behind the label? Do you think you have achieved this objective since its creation in 2007?
Initially, the vision was only a release for my own productions as I didn’t want to “shop around” my material in those early years as a new solo artist. But that quickly gave way to so many amazing demos that I just couldn’t ignore. This then allowed me to mentor and develop a host of young talents, like Carlo Lio, SHADED, Alex Mine and others.

You’ve managed to achieve success for three whole decades – what do you think is the key to your success?
I think I’ve always tried – with more or less success or failure – to stay one step ahead of my audience; trying to set trends, not follow them. To inspire, to be inspired and never to be satisfied with my past musical production or my heritage. To stay thirsty, hungry, curious!

EVOLV will be accompanied by a live show, can you tell us where you plan to shoot this in the next 12 months? What can ticket holders expect at these shows?
We had done about 3 “test” shows from 2018 to 2019, but we had to drop the whole project when the pandemic shut down the world. So now we are working hard to improve the scene and the visual design as well as my technical setup. But expect a fascinating audio-visual assault on the senses.

And finally, after so many accomplishments over the years, where do you see yourself taking your artistry next?
I want to continue to inspire the legions of emerging talent around the world and leave behind a legacy of music and performance that is an honest representation of who I am as an artist. I feel like I’m only about to express my best work to date. Maybe I’ll also end up getting into artist management because I love working with new talent. Wherever I take my career, it should be interesting and open up new creative horizons.

Prolific MTS Award-Winning Artist Sarantos Releases Emotional EDM Single

Chicago, IL, August 11, 2022 –(PR.com)– Released August 2, 2022, MTS Sarantos’ new EDM/Pop single combines genres to deliver a unique musical experience. Titled “I Wish”, the song explores the human need to have more in life, as the artist also shares his personal struggle with the obsession of always wanting more. Always writing his own lyrics, Sarantos aims to humanize all the emotions and feelings that society considers bad, thanks to which people keep these feelings hidden deep within them. By using his music as a vehicle for this emotional discourse, Sarantos stands out in the EDM and Pop music scene.

The official music video for “I Wish” was released on August 9, 2022. The music video features stunning visuals of vast landscapes where a lost man can be seen walking around in search of something. According to Sarantos, “This visual signifies the meaning of the song. The walking man symbolizes myself and all other people, who are always searching for more happiness in a world that seems to be riddled with endless problems. The man travels to the four corners of the globe; from Chicago to Alcatraz, Normandy, Iceland, Switzerland and India to Australia in search of answers. The dreamlike character of the images reflects the fluctuation between hope and despair in the as the suspenseful story unfolds. The man’s life is far from perfect, but he’s not ready for it to end…”

The single continues a string of Sarantos releases to benefit charities. “I Wish” will benefit the Make A Wish Foundation. Sarantos says, “A wish experience can be a game-changer for a child with a critical illness. I think that belief guides this organization in everything it does. It inspires them to grant the life-changing wishes of children going through so much and forces them to be creative in exceeding the child’s expectations.

About Sarantos: Sarantos is an internationally award-winning solo artist, #1 iTunes UK Charting singer-songwriter, #1 iTunes South Africa Charting Folk & Country artist, proud nerd, multi-instrumentalist, book writer, the comic strip, radio show host, poet and part-time spy. Since 2014, Sarantos has won over 51 awards with Akademia LA Music, Beat 100 while being nominated for the International Music & Entertainments Awards, Hollywood Music In Media, and Hollywood Songwriting Awards. He has had numerous media placements for his songs, instrumentals and lines.

Sarantos’ music is a cross between Justin Bieber, Queen, Journey and Ed Sheeran. He’s an alien who landed here to infect the human race and spread the music disease. 2022 is year #9 of his journey as he continues to release a new song, lyric video, music video, book chapter, and poem every month, bringing his music to life! In 8 years, he released 16 albums with 202 original titles as well as 8 fiction/fantasy books parallel to the songs. He has had numerous media placements for his songs, instrumentals and lines.
Please visit the Sarantos website at www.melogia.com

Jennifer Vanilla: Castle in the Sky Album Review


As the lead singer of cult Brooklyn band Ava Luna, Becca Kauffman has always reveled in their craziness. Of their whoops in “Sears Roebuck M&Ms» to the whimsical word of «Steve Polyester”, Kauffman’s unpredictable personality helped push the band’s craziest songs over the finish line. Kauffman further explored this potential under alter ego Jennifer Vanilla, a pseudonym under which they created tongue-in-cheek electronic music that parodies the camping advertisements and fitness class that once dominated pop culture.

On their 2017 compilation It’s Jenniferthe music itself reflected this period: disco, lodgea track built almost entirely from a Sample “Glass heart” in slow motion. If this collection was a comedic pastiche, then 2019 JENNIFER EP showed a more serious reverence for dance music – and now their debut album, Castle in THE sky, picks up where the EP left off. “Dance is an expression of emotion/Often a kind of aspiration/Towards complete physical well-being and fulfilment,” they recite breathlessly over a piano-house beat in “Body Music.” With production from longtime collaborator Brian Abelson, who co-produced and co-wrote the album, they push beyond their comfort zone, experimenting with jazzy sax solos and genres like dance-punk and R&B.

When Castle in THE sky brings the fun, that’s largely down to Kauffman’s production choices and their vocal inflections. Instead of sanding down the rough edges, they leave these songs just a little jerky. Synth pads sound unbalanced; the drum machines click awkwardly. They never take anything too seriously, even when they appear to be reciting mantras. When they exclaim “We’re going down in the wrong direction!” atop the midnight dance floor of “Take Me for a Ride,” they growl and accentuate their words. “Take this as an invitation/I’ll ​​be your guide,” they sing in a nasal trill before a repeated chorus of “on and on” warps and bends in every direction.

More Castle in THE skyDuring Kauffman’s four-year genesis, they realized that they were fluid and non-binary, and that Jennifer Vanilla was always an outlet to explore their queer identity. Castle in THE skyThe personal moments of feeling attached to this journey, albeit indirectly. ‘Humility’s Disease’, a goofy dance-punk adventure, explores internalized shame and the difficult process of overcoming it: “Was I built with a feeling born of error?” they ask. “Are you rigid, are you open to learning?” On the R&B ballad “Cool Loneliness,” they navigate the dissonance between how they feel on and off stage. In these songs, you can hear Kauffman letting his guard down as their character traits mostly fade away. It’s a compelling insight into the internal conflicts beneath the gleaming veneer of the music.

Boom review – powerful and human circus collaboration | Edinburgh Festival 2022


Jhere’s something special about Boom. In March 2022, young artists from the Cirk La Putyka ensemble in Prague and the Kyiv Municipal Academy of Circus and Variety Arts met for the first time after the outbreak of war in Ukraine. Boom transforms this life-changing situation into an effervescent display of acrobatic collaboration that never loses sight of a shared humanity.

The show opens with the daily life of these Gen Z artists in Prague. Wearing huge transparent heads, they compulsively glide left and right under a pale gray light. Dizzying aerial towers communicate the relentless nature of rolling hashtags and constant selfies. These well-made, if not too original, sketches of a banal, somewhat thoughtless life, stop when the Ukrainian artists arrive piled up in large overcoats. There is a painful maturity in the way all of the young performers maintain the physical and emotional space between themselves, acknowledging the ever-present and brutal brutality of war.

Maintaining the emotional space between them… Boom. Photograph: Jane Barlow/PA

From there, a dance of curiosity unfolds as performers share their personalities, stories, and love of the circus. The choreography is done with sensitivity and agility. Different circus acts follow one another and inspire each other: the Cyr wheel meets the hoops, the acrobats ricochet in a shared momentum.

Everything is lit up in a cool, neon gaze, while the manipulation of live electronic music adds a cohesive frame to the ongoing evolution of awesome stuff, spoken testimonials, traditional songs and imagery.

It’s not the tightest show – it loses its footing towards the end and doesn’t evolve from individual interactions into a larger ensemble piece. But he is inspiring in his youthful energy, talent and honesty.

Biomassive dives into a deeper level of electronic prog-rock


The Traverse City band that lit up Cowpie Music Fest on Friday also debuted new music for Local Spins on WYCE, which streamed new tracks from Act Casual, The Accidentals, Adrian Jay and more.

New album on the way: Traverse City’s Biomassive (Photo courtesy)


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West Michigan Music Scene

In their element from the start, Traverse City’s Biomassive lit up the main stage at Friday night’s Cowpie Music Festival near Caledonia with jam-fueled electronic rock glory – the perfect backdrop for the band’s danceable psychedelic grooves.

For some ardent fans, it was clearly a spellbinding, even addictive experience.

“We cut our teeth at music festivals and that’s kind of where we got our start,” said keyboardist and synthesizer Connor Lindsay. “That’s what we want to do.”

Cowpie Jams: Biomassive accelerating American bandstand scene. (Photo/local tours)

Biomassive is also about blending funk and rock into a pulsating and hypnotic electronic panoply, something the band aim to replicate for their third full-length album, now in its final production stage.

“We’re really composing in our sound,” Lindsay insisted. “This album is definitely more polarized on an even deeper level of electronic and heavy progressive rock. We’ve really refined our vision and I feel like this album has made us think even more about the sound we want to represent.

Formed in Traverse City around 10 years ago, the six-piece band includes Lindsay, keyboardist Ben Wyler, guitarist Kalvin Cronn, bassist Trevor Pinney, percussionist Shandon Williams and drummer Troy Novak, with Wes Roberge as lead vocals. group’s sound and lighting engineer.

The “bedroom project” quickly turned into a real live show, something Lindsay describes as “a rock show steeped in technicolor synth”.

VIDEO: Biomassive at the Cowpie Music Festival (05/08/22)


“We like to think of it as a conceptual band, using our mix of live and electronic instruments and elements to showcase the duality of man and machine,” he said. “We all want to bring guitars to the rave and synthesizers to rock gigs.”

Biomassive plays Encore 201 in Traverse City on August 27, Big Fam Music and Arts Festival in Farwell on September 3, and Billy’s Lounge in Grand Rapids on September 9.

‘Technicolor Synth-Drenched Rock’: Biomassive revels in live performances. (Courtesy picture)

Lindsay credits the area’s strong music scene — with “so many great venues and so many great musicians from Northern Michigan” — for the band’s success.

After producing full albums in 2019 and 2020, Biomassive released a five-song EP “Monolith” in 2021 and is currently putting the finishing touches on their “Digital Deity” album.

An official release date has not been set, but the band is planning an extensive Midwest and East Coast tour next spring to promote the new album.

“There’s magic on this one, so I’m thrilled to share it,” Lindsay said.

Lindsay shared some of that magic for this week’s edition of Local Spins on WYCE, dropping the title track from the show’s new album that spotlights local and regional music at 11 a.m. Fridays on WYCE ( 88.1 FM) and online at wyce.org.

Listen to the full interview and radio show podcast here, including new music from Act Casual, Kaitlin Rose, The Accidentals with the Kaboom Collective Studio Orchestra, Strange Heart, The Aquaerials, Desmond Jones and Adrian Jayas well as pieces of Nashon Holloway Band and bonehawk (this week’s choice of musician by Lindsay).

PODCAST: Local tours on WYCE (05/08/22)

Copyright 2022, Spins on Music LLC

Dave Ramsey says debt consolidation solves nothing. Is he right ?

Image source: Getty Images

Don’t rule out this debt repayment strategy just because Dave Ramsey doesn’t like it.

Key points

  • Dave Ramsey says debt consolidation doesn’t solve the real problem, which is your financial behavior.
  • Although financial habits are what matter most, debt consolidation can also help.

Debt consolidation is a frequent recommendation for those trying to get their debt under control. If you’re unfamiliar with how debt consolidation works, it involves getting a new loan or credit card and using it to pay off all your debts. You then only have to make one monthly payment, possibly with a lower interest rate.

It may be popular, but there’s one finance personality who’s not a fan. When a reader asked Dave Ramsey if debt consolidation was a good way to get out of debt, his answer was an unequivocal no.

So, is debt consolidation worth it, or is Ramsey right? Let’s find out.

Why Dave Ramsey Is Against Debt Consolidation

Ramsey’s argument against debt consolidation is that it gives you the illusion of progress, without actually having done anything. As he says, “It makes you feel like you’ve really done something to change your whole financial outlook when you haven’t.”

According to Ramsey, what puts you in debt in the first place are your financial habits. That’s why he believes changing those habits is what’s important.

When you consolidate debt, you might have a lower monthly payment. You will certainly have fewer payments to manage. But in Ramsey’s view, it’s just tossing around the same old debt. You haven’t addressed the real problem, which is the behaviors that led to your debt.

What Ramsey is saying is that getting rid of debt is all about strict budgeting and creating new financial habits. He’s right there, at least with the debts caused by overspending. However, it is not fair to say that this is the problem for everyone. There are many issues that can cause debt, some that are not entirely within a person’s control, such as medical issues or sudden loss of income when living paycheck to paycheck. other.

Overall though, it’s true that getting out of debt is all about following good financial habits. But like many of Ramsey’s views, his stance on debt consolidation is extreme.

Debt consolidation can take your repayment plan to the next level

In his response to a reader on debt consolidation, Ramsey wrote that “interest rates aren’t the issue, and the number of payments you’re facing isn’t the issue.” Maybe so, but all things being equal, most people would probably accept a lower interest rate and lower monthly payments.

Those are two possibilities with debt consolidation, at least if your credit score is high enough. There are two popular options:

  • Balance transfer credit cards offer a 0% introductory APR on the balances you transfer. The introductory period can last 18 months or more with some cards, giving you some time to pay off what you owe.
  • Debt consolidation loans are personal loans intended to pay off existing debt. These give you a fixed payment term, with lenders normally offering terms of between 24 and 84 months.

Ramsey is right that there is no trick to paying off debt. If you spend more than you earn, you will end up in debt. If you consolidate that debt and then continue to spend more than you earn, you won’t make any real progress. Your now consolidated debt will increase and you will find yourself back at square one.

The key is to cut expenses and spend as much money on your debt as possible. And if you do that, debt consolidation is a great way to speed up the repayment process.

To demonstrate this, let’s say you have $5,000 in debt spread across various credit cards and are able to pay $300 per month for it. You could pay this at an 18% APR. Or, you can transfer it all to a balance transfer card with an introductory APR of 0% for 18 months. Here’s what the difference would be:

  • Without debt consolidation, your debt would cost you $5,797 and be paid off in 19 months.
  • With debt consolidation, your debt would cost you $5,150 (the original amount plus a 3% balance transfer fee) and be paid off in 18 months.

Debt consolidation will not do the work for you. You will still need to make those monthly payments and avoid any new debt. But it can help you pay off your debt sooner, reduce the number of your monthly payments and, most likely, save money on interest.

The Ascent’s Best Personal Loans for 2022

Our team of independent experts have pored over the fine print to find the select personal loans that offer competitive rates and low fees. Start by reviewing The Ascent’s best personal loans for 2022.

Mall Grab: review of the album What I breathe


Here and throughout the album, Alexander’s synths are the most compelling aspect of his music, telegraphing outsized emotions with a silver hit of the waveform. But his drums are missing; too often his lineup seems formulaic, a way of filling in the empty space in the mix. In “Patience,” regular hi-hats bring out the subtlety of Nia Archives’ trip-hop vocals. In hardstyle-influenced “Metaphysical,” skinned hi-hats and Amen breaks vie for attention with over-the-top bass and a screaming vocal sample that’s looped until nauseous, as so many of his samples are. vocals. Rather than being extremely heavy, it simply feels weighted down.

Alexander has describe what i breathe like a love letter to the dance-music heritage of London, where he has lived for seven years. But beyond a handful of jungle breaks and a joint feature by grime MCs D Double E and Novelist, nothing here feels intrinsic to the British club’s history. To genuflect at what Simon Reynolds called the “hardcore continuum” is practically de rigueur in some corners of British-inspired dance music these days; what i breathe says nothing new about the tradition that ranges from the discovery of acid house in the UK to hardcore breakbeat, jungle, dubstep and grime. Alexandre simply gathers these sounds around him, badges of loyalty to his adopted city.

There is another singer featured on the album: Alexander himself. He brings meowing falsetto to “Without the Sun,” a bittersweet British bass/house hybrid that vaguely resembles Larry Heard and Mr. White’s “The Sun Can’t Compare”; merging the atmospheres of the Cure’s To wish with flimsy grime production, the closing “Lost in Harajuku” is more unexpected, but Alexander’s understated monotonous tone seems reluctant to take center stage, and though the lyrics are hard to make out, the glow of lost in translation-like disorientation sneaking through doesn’t elicit much sympathy. Taking a feature on his own album comes across as a kind of rhetorical gimmick, a suggestion that this, at least, is a glimpse of Jordon Alexander at his most personal. The problem is that he is not a sufficiently convincing presence to defend himself. Seven years into a career spent turning familiar references into crowd-pleasing forms, it’s still unclear who Alexander really is, beyond the sum of his influences.

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Mall: what I breathe

From livestream concept to second LP comes Jason Ross’ “Atlas” [Interview]

From livestream concept to second LP comes Jason Ross’ “Atlas” [Interview]

When COVID-19 quarantines paused in-person music programming, artists were forced to adapt as best they could to an ever-changing landscape. As venues and festival grounds gathered dust, live streams grew in importance as a digital community of dance and electronic music enthusiasts flourished. Among them was Jason Ross Presents: The Atlas, a concept show airing on Insomniac’s Twitch channel every Monday night, where creator Jason Ross and a different special guest could be reliably found one day a week for a great deal. part of 2020 and 2021. Fast forward to 2022 and “The Atlas” would become something of a template for Ross.

“Tome, Atlas means home,” he said dancing astronaut. “[It] became a weekly event that gave people something exciting to look forward to while the world was shut down. From there, it grew into a thriving community that many of us (myself included) call home.

Building on that sense of community, that sense of belonging, remained important to Ross long after the “pause” on live music programming gave way to “play,” so it became a driving force behind his second studio album. of the same name. “We talked a lot about themes during the [studio] sessions and the concept that I kept coming back to was this idea of ​​home and what it means to us. So when I thought of the title of the album, it made sense to call it Atlas,” he said.

From a high level perspective, Atlas is 10 tracks of the signature bass sound that listeners have come to expect from Jason Ross, which has not only become synonymous with Ophelia Records, but also with consistent production quality. Look beyond that surface though, and you’ll see that Atlas is “a mix of genres, influences and tempos”, according to Ross himself. “Each song was so different and had its own crazy journey to end up on the final album,” he added.

The album is led by “Hate This Kind of Love” (with HOLT), “Take You Home” (with MitiS with Dia Frampton), “Ghost Town” (with David Frank), “Burning Sky” (with HALIENE; a debuted as Ross’s Closest to Sunset at EDC Las Vegas) and “Slow It Down” (featuring Chandler Leighton’s L8NCY project).

“I feel very lucky to have the opportunity to work with these incredible artists. All of these artists inspire me through their own work.

Jason Ross

Ross’s ability to extract the best from the producers and singers he works with is not unique to Atlas; it’s something he’s become accustomed to throughout his career. It’s no coincidence that many of his best-known releases are collaborations involving the likes of Seven Lions, SLANDER and Gryffin. Naturally, working on collaborative singles comes with such a “different process” than working on a long-running project like Atlas:

“Collaborations like these are just super exciting and fun! It’s also a great opportunity to learn from each other and grow; I always come out of a collaboration with a few new tools to add to my arsenal…[but working on an album involves] a lot more planning and digging in, because that’s where you really want to convey to listeners who you are musically, visually and everything else.

In fact, her favorite part of the craft Atlas could simply expand its visual components:

“I loved focusing on the visual identity of the album and the brand. I naturally gravitate toward abstract and minimalist art, and I’m thrilled with how these monoliths on the album turned out. I’m really excited to explore this world even deeper because I think there’s a lot more to do and say in this space, visually.

It’s been two years since Ross released his first LP, 1000 faces, and he’s the first to admit that a lot has changed since then. “I have grown a lot. I think I’ve become more sure of myself as a producer and what I’m really trying to convey through my music. I think my music has definitely matured since 1000 facesbut it still shares the same sound identity.

Although a lot has changed since then, one aspect has remained the same: as 1000 faces, Atlas gets its output via dancing astronautLabel of the Year 2021, Ophelia Records.

“I really feel like Jeff [Seven Lions] and Ophelia gave me a platform to explore who I am as an artist. They have always supported me and my ever evolving sound. I never really thought about exploring new genres until I met Jeff, and it allowed me to expand my music significantly,” Ross said. “I think a lot of artists are afraid to take risks, but as long as you’re authentic with yourself, it can be worth it.”

Of course, no album is complete without a supporting tour and Ross’ Atlas tour is shaping up to be his biggest headlining adventure yet. The 30-stage live initiative will feature city-specific appearances from a range of acts, including Arty’s Project Alpha 9, Au5, Ray Volpe, Ace Aura, CloudNone, Gem & Tauri, Last Heroes, and more. The tour kicks off with a bang at the Hollywood Palladium in Los Angeles, Ross’ biggest headlining show to date.

“It’s amazing to think this is actually happening,” he said. “I remember playing [at the Palladium] for the first time during the Seven Lions Journey II tour and dreaming of being a headliner one day. It’s a dream come true and I can’t wait to get things started there!

See a full list of Atlas tour dates and ticket info here, and stream Atlasavailable now via Ophelia Records, below.

Featured Image: Shane McCauley

Tags: atlas, Hollywood Palladium, jason ross, Ophelia Records

Categories: Features, Music

Tony Romera makes his Toolroom debut with – ‘Raw (Tony Romera Remix)


Making his label debut, Tony Romera himself is a rising DJ

Toolroom returns it to a label favorite on this next release, releasing a new edition of a revered club weapon from Julio Navas, Gustavo Bravetti and David Amo – “Raw”. A record that became an underground cult hit and defines the true sound of Toolroom’s heritage. Now, in 2022, we see one of France’s hottest exports on the scene right now, Tony Romera delivering a high-energy, club-focused remix of ‘Raw’, bringing this classic club record back to the dance floors and through sound systems this summer!

Making his label debut, Tony Romera himself is an up and coming DJ, touching on popular DJs such as Dombresky, Noizu and Hugel, he’s also garnered support from some of the biggest names in the scene, from Fatboy Slim to Steve Aoki and everyone else. for his explosive live performances and hard-hitting productions. It will be an infallible club weapon throughout 2022!

Toolroom Records is internationally recognized as one of the most innovative brands in dance music. After 15 years in the music industry, we’re known for our passion for quality House music and our close connection to the #ToolroomFamily – our global community of fans. Over the years, we have signed and even discovered legendary artists; we have paved the way in an ever-changing industry, developing artists and even evolving ourselves – and this is just the beginning.

Toolroom Records began in 2003 when emerging DJ/producer Mark Knight and his brother Stuart Knight started the label. Rapidly developing a fan base of professional and aspiring DJs, the label has become synonymous with credible House and Tech House.

Tony Romera makes his Toolroom debut with - 'Raw (Tony Romera Remix)

Our mantra from the start was simple’ says Mark. “We wanted to be a record company run by DJs, for DJs. The kind of label that seeing the artwork behind the counter of the record store, you buy on sight.’

Alongside the career of label figurehead Mark, Toolroom quickly became an internationally recognized brand thanks to defining club records, including the remixes of “Man With The Red Face” and “You’ve Got The Love”. by Mark Knight, among a host of original material from Mark and other heavyweight dance artists. Toolroom has also branched out beyond a traditional label model. We have successfully expanded into events, with Toolroom residencies and festival appearances all over the world.

Branching out into other media platforms, Toolroom Radio, hosted by Mark Knight, is enjoying resounding success with more than 16 million listens per week, and Toolroom Academy – the brand’s educational arm – offers a range of production and innovative DJs to the next generation. electronic music artists.

It really is a family thing‘ said Mark. ‘When we talk about the Toolroom Family, it’s not just a marketing slogan. We’re normal, balanced people, but we’ve always dreamed big’. With a strong musical vision and a tight artist roster, it’s still the start of a journey for Toolroom – and we want to share it with you.

UFO Network continues to grow as the most in-depth and comprehensive EDM source for all things electronic dance music. With audiences in over 125 countries, we are quickly becoming a popular and trusted source of electronic dance music news, reviews, interviews and features for DJs, artists and labels.

Julio Navas, Gustavo Bravetti and David Amo – ‘Raw’ (Tony Romera Remix) is out now!

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Tony Romera makes his Toolroom debut with - 'Raw (Tony Romera Remix)

Take a trip down memory lane at this year’s magical Shambhala music festival [Festival Recap]

Take a trip down memory lane at this year’s magical Shambhala music festival [Festival Recap]

Take a trip down memory lane at this year’s magical Shambhala music festival [Festival Recap]

Each year, thousands upon thousands of participants eagerly wait to head to “The Farm,” also known as Salmo River Ranch, in beautiful British Columbia. To participate Shambhala Music Festival 2022 in full swing, this has been a truly magical year as the music community has finally come together to create memories that will undeniably last a lifetime. An iconic festival that has been recognized around the world not only for the wide range of artists performing, but also for the life-changing experiences of the Shambhala Music Festival.

Positivity, acceptance and freedom. These three words immediately come to mind when we think of Shambhala Music Festival. Established in 1998 and become one of the most recognized electronic music festivals in North America and beyond, the highly anticipated festival has always been the highlight of the summer for many as attendees head to their second home. A jaw-dropping experience indeed from the start, the festival features six performance stages which are all individually curated known as The living room, AMP (AMPhitheatre), The fractal forest, The village, The groveand The Pagoda. A recent discovery this year was the music and DJ lineup at the Muscle Beach entry point, which was truly spectacular as attendees could enjoy the beautiful river while listening to their favorite beats. Upon entering the festival grounds and being greeted with joy by the wonderful festival staff, the festival radiates positivity and there really is no place like it to truly be yourself during the week. Allowing attendees to arrive at the campgrounds early, the Shambhala Music Festival is offering early entry starting Tuesday at 6:00 a.m. and it’s definitely a good idea if you’re looking to take in all that the festival has to offer. Officially taking place this year from July 22-25, the stellar lineup included world-class artists such as What’s up, grand theft, Chris Lake, Chris Lorenzo, Cordae, CloZee, DEATHPACT, Subtronics, SLANDER, Dr Fresch, Boogie T, The Librarian and even a surprise set from the king of dubstep known as Circumcision to officially welcome them to an absolutely epic new Village stage. With a lineup stacked indeed from early afternoon and past sunrise, Shambhala Music Festival 2022 was definitely one of the books, and be sure to experience more of the magic below.

Photo credits: Pulse Photography

An unforgettable journey of exploration deep into the forest of Salmo River Ranch, as soon as you enter the campgrounds you are immediately welcomed into a new family united by music and radiant positivity. When neighbors become some of your best friends, you can immediately tell the vibe is about to be one of a kind. As the festival offers attendees the opportunity to explore several workshops including dance classes, yoga sessions, body painting, etc., there are actually endless activities that attendees have the opportunity to take part in. . One of my favorite memories of Shambhala every year bathing in the beautiful river and cooling off from the sun as those majestic rhythms play in the background alongside all your “family” participants who vibrate all day. With a long list of experiences worth mentioning, Shambhala also has a wide range of local shops for clothing, handmade jewelry, official merchandise, and more. Not to mention the delicious food and drink one has to offer there, including their famous lemonade, burgers, pastas and more, which include beef and pork raised at the Salmo River Ranch, as well as fruits and vegetables of the highest quality which are also grown on site.

Photo credits: Pulse Photography

Going into the majestic scenes which all create an individually unique vibe and aura, some Friday highlights would definitely start from Nostalgia, Cloonee, Chris Lake and Chris Lorenzo all throw it non-stop on the Pagoda Stage for all the house music lovers out there. The Village scene was absolutely destructive as Excision unleashed a legendary surprise set along with top-notch artists such as Virtual Riot, Dion Timmer and more. The AMP also hosted out of the trees and the legend Apashe for a monumental ensemble indeed. To end on my absolute favorite stage known as The Fractal Forest, where photos would never do justice to the immersive live experience it has to offer, Joseph Martin closed the bumping scene until early Saturday morning. Saturday also brought a very stacked list of artists, including Truth and a wild extended set of slump and his friends in place of Mr. Carmack at the MPA, DJ Premierand DJ Jazzy Jeff returning to the classics of The Fractal Forest, Vinyl Richie in the living room, Justin Martin and Felix Cartal at La Pagode and a super wave of drum and bass madness at the Village from Phibes, Delta Heavy, downlink and more. Sunday being the icing on the already impressive cake, some highlights included Cordae at The Grove, Corrupt (UK), and a special House Call Records Fam Jam at the Fractal Forest, DEATHPACT at the Pagoda, and SLANDER at the Village.

Photo credits: Pulse Photography


Photo credits: @picjerphoto

With a very special performance at The AMP from the one and only Which is not the case. The vibes were truly flawless from start to finish. A fully engaged crowd indeed as the legend took the stage beginning at 1:00 a.m. What So Not blessed his fan base with classics and hidden gems set to drop soon on his highly anticipated album “Anomaly.” While these audio and visual elements completely immersed the crowd in a complete experience alongside What So Not’s ever-evolving sound design, the PK sound couldn’t have sounded better during this monumental set. The crowd was energized, engaged and ready to dance to the sonic soundscapes and captivating melodies flushed out by this talented performer. A set that many couldn’t miss at this year’s festival, What So Not absolutely killed his performance in the best possible way and allowed the music to speak for itself. To stay sane until What So Not’s album release, be sure to add their latest single “As One” to your summer playlist.

Easily a highlight of this year and past Shambhala music festivals, Grand theft went on to create an eclectic set for the masses that ranges from trap, house, bass and more to get you rockin’ on the dance floor no matter what time of day. Devoting his time to providing a unique experience for Shambhala participants who join him at the Pagoda, Grandtheft shares:

“Coming back to play here at Shambhala is the best because I often say it’s my favorite festival. It’s just a unique vibe and people are here for the vibe and here for the music more than most festivals. , it’s an independent festival and a lot of festivals these days are corporate and owned by the same people and companies. This one has a unique vibe because it’s independent. I love coming to play here. I’ve been coming here for ten years now and it’s my fourth time playing and it’s exciting also with the pandemic there’s been a big gap, and being able to come back here I think that’s exciting for me and all the DJs who play. It’s definitely special this year.

A stellar set indeed to initiate the groove with house signatures to The Pagoda and not to mention a legendary return to trap history as it rinsed off all those hard-hitting classics to put those bandanas into action, Grandtheft did. not disappointed. Dropping more than one can handle, the legend shifted the levels of the distorted sound and fast-paced momentum perfectly to sound all the alarms in the Energy Department. With a set at 2:30, the energy couldn’t be contained and you could tell this genre-defying artist really put all his energy into delivering one of the best sets of the weekend.

“My favorite part of Shambhala, from a DJ standpoint, I’m doing an entirely different set for Shambhala. I’m still working on it as we speak. I’m doing a lot of editing just for this set and my latest in 2019 felt special and full of music that I never used to play. I feel like we can go a little further, and people are here to experience it in a way different here.

Experiencing a high-energy, immersive set for the books, Grandtheft is only heating up this year as it exclusively shares:

“I’m still out there playing and stuff. I’ve been in the studio like crazy and worked on a lot of stuff. Release some new Grandtheft music! I just released an album in November on Fools Gold. It’s more rap and R&B. I’m super proud of this album. Not all DJ bangers, but some kind of shock music in the car. Working on lots of new Grandtheft music and a secret side project. A ton of records for it and a fire was released on August 19th with more details to come.

Photo credits: Pulse Photography

With an unparalleled atmosphere and aura, the festival speaks for itself and it’s certainly not just about the music. It has so much more to offer. As the Shambhala Music Festival is already gearing up for its 2023 edition, official dates and ticket sales information can be found here. Caring for their “family” of participants comes naturally to Shambhala staff and let us tell you, the experience is unlike any other. Stay tuned for more festival announcements and be sure to grab your tickets early once released.

Featured photo credits: Pulse Photography

Ever After Music Festival ticket holders told the event won’t go ahead


In a social media post, Ever After Music Festival ticket holders are urged to “plan accordingly” after saying the township will not let the event go ahead.

Organizers say a full statement will be released shortly as nothing is expected to change “at this time”.

The news comes a week before the popular electronic dance music festival takes place August 11-14 at Burl’s Creek in Oro Medonte.

According to the township, the festival leased the Burl’s Creek land to hold the event.

At a special council meeting on July 21, a staff report said event organizers expected around 15,000 people to attend the festival daily.

Mayor Harry Hughes told CTV News in an interview last week that the organizer was made aware in January of the township’s process which involves six different agencies signing off on the festival’s operating plans for health and safety purposes. .

“When the report came to council, none of the agencies had signed on, and no security had been posted to ensure people were paid as part of the event,” Hughes said.

These agencies include the Ontario Provincial Police, which wrote a letter on July 19 saying, “The Ontario Provincial Police first learned of this event in late May 2022 and had a meeting with the organizer of event,” according to Detachment Commander and Inspector CJ Yateman.

Going on to say that the operation plans “lacked detail regarding traffic planning and security, missing persons, intoxicated persons and drug disposal.”

Additionally, Yateman said, “The organizer has not completed a Paid Service Agreement for this event. Without a completed Paid Service Agreement, we cannot request officers for this event. Due to the time between now and the event, the OPP will not be able to guarantee adequate staffing.”

A letter was also submitted by the Alcohol and Gaming Commission of Ontario on July 18, stating: “The AGCO has not received the required ten day notice for this event. The AGCO does not approve of the event plans and supports any decision by the Township of Oro-Medonte.”

With an official cancellation statement looming, there is no indication what will happen to purchased tickets or if the festival will be offering refunds.

CTV News has made multiple attempts to reach the organizer for comment, but has yet to receive a response.

These are the local acts to be seen on the outer lands


No disrespect to legends like Radiohead or Stevie Wonder, but it’s high time Outside Lands booked a true Bay Area headliner.

Of course, Metallica, which closed the second night of Outside Lands 2017, called San Francisco home. But the band actually formed in Los Angeles. Green Day, meanwhile, was founded by two Oakland-born punks, who cut their teeth playing seedy East Bay clubs like 924 Gilman before becoming one of the biggest pop punk bands in the history of rock & roll.

While we’re excited to hear a Saturday night set that’s sure to include “When I Come Around” and “Wake Me Up When September Ends,” talent scouts from Another Planet Entertainment filled the rest of the festival with many local talents. .

Read on for a list of bands and transplants raised in the Bay Area with strong hometown ties.


Friday, 12:05 p.m. – 12:50 p.m., Sutro

Oakland native Chrystia Cabral was earning comparisons to Kate Bush a year ago stranger things introduced a whole new generation to Britain’s earliest high woman appearance. But the numbers behind its 2021 release, The spinning wheel, support him. On this album, Cabral collaborates with more than 30 musicians, carving out a wild array of soundscapes, often, as in “Boys at School”, in the same song. Reveling in its unclassability, Spellling’s voice betrays a love of restless experimentation, confidently delivering five- and six-minute songs in a world without attention spans.

Duckwrth performs at Lollapalooza Day 3 at Grant Park in Chicago on July 30, 2022. | Barry Brecheisen/WireImage


Friday, 2:50 p.m. – 3:40 p.m., Lands End

Underpinning the latter’s upbeat and effortless personality is the upbeat bassline of “All Around the World,” Snakehips and Duckwrth’s latest collaboration. Raised in Los Angeles and a former resident of The Town, Duckwrth, born Jared Lee, is something of a direct musical descendant of Pharrell Williams and the Neptunes. He’s a rapper first, but he subordinates his verses to a very broad love for funk, R&B and a little house. He’s exactly the right choice for a mid-afternoon main stage, day one set, the act that hosts tens of thousands of people who left work early.


Friday, 3:45 p.m. – 4:35 p.m., Twin Peaks

“If the tide takes California / I’m so glad I could hold you,” Ashe sings on “Till Forever Falls Apart,” a duet with FINNEAS (Billie Eilish’s brother, for the uninitiated). If twirling around in a field with pop royalty sounds like the height of aspirational lovesickness, San Jose native and present-day Angeleno Ashe is a bit too ironic to run headlong into a field of sunflowers. She may embellish it with more than an echo of Sheryl Crow, but her first (and, so far, only) full-length album, Ashlyn, ranges from trust issues and vulnerability to genuine laments over the loss of a real-life sibling, via a Nashville-Netflix arc that’s far from peaking.

Salem Ilese opens at the Pacific Coliseum in Vancouver on November 6, 2021. | Andrew Chin/Getty Images

Salem Ilese

Saturday, 12:05 p.m. – 12:45 p.m., Panhandle

After everything that happened in Florida this year, a song called “Mad at Disney” may sound like a pretentious anthem for queerphobic Proud Boys, but it’s actually an endearing track from Mill Valley native Salem Ilese. 22-year-old who has been co-writing songs with professionals for most of his life. Ilese is young enough that her song on Coke is actually about drinking soda on the beach, but she’s too high and emotional to be a mall standard. Case in point: she was clever enough to anticipate the NFT backlash on “Crypto Boy.”


Saturday, 4:55 p.m. – 5:40 p.m., Panhandle

“Nobody’s the GOAT because we’re all the GOAT,” Symba concludes on the track of the same name, reversing the kind of bluster we’ve come to expect from those who consider themselves the greatest of all time. But the thing is, this Bay Area-born rapper has a legitimate claim: a mixtape featuring collaborations with heavy hitters like Ty Dolla $ign, Too $hort, and 2 Chainz even before his first full releases. (That’s because of Symba’s low-key but prodigious songwriting career, with credits from Jack Harlow at the Scooby-Doo Movie.) Always preaching a gospel of upliftment – “Ghetto Literacy” – he is a gifted performer but a lyricist first and foremost.

Larry June performs during day three of Lollapalooza at Grant Park in Chicago on July 30, 2022. | Josh Brasted/FilmMagic

Larry June

Saturday, 5:30 p.m. – 6:20 p.m., Twin Peaks

Chill, almost bordering on hypnotic, rapper Larry June’s motto is “You’re Doing Good!” June was born in 1991, and this year of transition is more or less the sun that shines on all his production, from the orchestral “Private Valet” to the July release “In My Pockets”, about which he says of a “I like Oakland girls” drawl. / But I’m a man from Frisco.


Saturday, 6:20 p.m. – 7 p.m., Panhandle

600 thread tenderness on Thuy’s 2021 I hope you see this only lasted nine songs and 25 minutes. So the Vietnamese singer-songwriter quickly capitalized on the demand for more, releasing a deluxe version that cemented her role as a source of plush comfort for people with too many feelings to handle right now. Five years after KMEL’s Home Turf competition launched her into the limelight of the local scene, Thuy (pronounced “twee”) excels in chamber R&B, not in the sense of getting into it, but of s ‘get out.

See also

loot planet

Sunday, noon – 12:45 p.m., Lands End

Much like an even goofier Chromeo, Bay Area electro-funk trio Planet Booty are currently releasing a track every Friday from their new album, a remixed companion to 2021. YES. After playing their very first SF show at Blue Parrot, a long ago incarnation of the doomed space that is currently Arena SF, Planet Booty has since turned their brand of amped up body positivity into opening sets for Peaches, Lizzo , Escort and others. If you’re disappointed with anything for any reason on Sunday, go ahead and feel better.


Sunday, 12:30 p.m. – 2 p.m., SOMA tent.

Andy Goldsworthy’s “Wood Line” sculpture occupies MPHD disc cover Repetition, and the gentle sinusoidal curve of this site-specific work in the Presidio is a good metaphor for the home production of MPHD technology. A project by queer Black DJ Bradley Exum (known citywide for nights like A Club Called Rhonda and for opening LCD Soundsystem), MPHD opens the SOMA tent on the final day of Outside Lands in a back-to-back set with Tiffany Tyson – the farewell festival breakfast, if you will.

Illenium performs during the 2022 Bonnaroo Music & Arts Festival in Manchester, Tennessee on June 17, 2022. | Tim Mosenfelder/Getty Images


Sunday, 6:10 p.m. – 6:40 p.m., GastroMagic
Sunday, 8 p.m. – 9:35 p.m., Twin Peaks

St. Ignatius alum Nick Miller, better known as Illenium, is perhaps the biggest name to emerge from the future bass scene. Backed by a trilogy of electronic albums tinged with emotion—Ashes, Awake and To go up– this self-proclaimed sadboi and lover of Japanese percussion has racked up some 5 billion streams and a Grammy nomination. Being thrust into the unenviable position of closing out Sunday night against Post Malone and Mitski might doom someone with a less loyal fanbase, but the “Illenials” are sure to prove themselves. You can also see him paired with celebrity chef Tom Colicchio earlier in the evening at GastroMagic.

Avalon Emerson

Sunday, 8 p.m. – 9:35 p.m., SOMA

If there’s one thing missing from a festival that ends well before midnight, it’s techno. SF-born Avalon Emerson is a DJ and producer seemingly transported straight from Berghain’s Panorama Bar, whose beats are tempered with occasional dabs of tropical radiance and Todd Terje-esque camp. For local credibility, Emerson has a track called “Church of SoMa” and it closes the weekend at the SOMA tent. If you need another reason to see it, Emerson also covers Magnetic Fields’ best song, “Long-Forgotten Fairytale.”

Peter-Astrid Kane can be reached at [email protected].

Brennen Cabrera: the grit and grime of art


by Brennen Cabrera the art is fluid, changing and explores their interest in what is raw, textured, dirty and destructive. It analyzes life at its most basic and atomic level. They don’t create without the audience in mind, but much of the work explores issues that are personal to them. The audience has an experience that helps frame the concepts presented by Cabrera. Cabrera is profoundly modern, connected in the usual continuum of art heritage but working in a world, as a whole, faced with diseases like COVID or, now, Monkeypox – diseases that result from these diseases – and from technology. Cabrera’s creative problem to solve, much like their contemporary artist counterparts, is also one created by modern life.

LEO: Tell me about your artistic practice?

Brennen Cabrera: I consider myself multidisciplinary, however, my main focus is mixed media painting with sculptural elements. Drawing, performance and my mobile approach to experimental video are the other areas. I have a studio in Clifton, and I also work from my apartment which is a good bike or walking distance away. When it comes to mixed media, I commonly use acrylic paints and mediums, dry pigments, unprimed canvas, and wood surfaces. Sometimes I use unconventional materials like earth and human blood. I’m interested in rough, texture, destruction and grime. I like things that have faced the elements. I do a lot of layering, coloring, distressing, marking, dialogue and sometimes realism. I look at a lot of things on my walks like scratches, marks and residue on different surfaces. A lot of what I look for in these surface obstructions is subtlety, but they definitely become a lot more obvious. I focused a lot on a minimal color palette and incorporated bright colors when I felt the need. I’m interested in black and white, colors associated with nature, and liminal colors like muted tones and pastels. When I arrive at the studio, I put on some music or an auteur film and I start creating. My work is planned or unplanned. Planned, of course, accompanied by a drawing or a reference on paper or on a phone. If it’s not planned, I have a concept in mind, but no visual reference, and I go to observe the piece over time. I also apply these things when doing something performative/filmed.

When performing the piece, I have to document through video and photography. I also have relics, which are the things I interacted with or carried during performances. I make time to work on the computer, social media, and of course supporting other artists in the community.

How do you use art to tell a personal story? Are you trying to reach others or is it more of a catharsis and process for yourself?

As an independent queer autistic man, some of my work shares personal stories. I never wanted my art to be just for me, even if it’s cathartic. I think it is important as marginalized artists to share personal experiences that are both pleasurable and painful for society to find relativity, understanding and artistic growth. I find performance art can be an interesting and different ballgame when it comes to telling something personal. An example would be my most recent event, Come to Church. I cracked up when I started working on it. A few collapses in the space where he was going to be. It wasn’t because of the construction of the set but rather what I had in mind.

I wanted something immersive. I wanted the audience to experience the overstimulation and horrors of ableism. I also felt that being vulnerable with my struggles and mistakes would show that I was as human as anyone else. Dehumanization is common in the autism community. So when I did this performance, I presented myself as the monster that neurotypical society perceived me as Dimitri Bellrock. Dimitri is a shadow work and a vehicle to express stigma, abuse and trauma. He is also an outlet for my sexuality, my comic openness and my rage. I never think of him as an actor because everything seems real with him. I was going to confess some things in this performance, so I figured a church environment was the way to go. The confession was quite lengthy and was a mix of trauma, anger, sins I was sorry for, so-called sins I was not sorry for, and sensitivity to justice. After this confessional sermon, I stripped naked and covered in dirt. I lifted and rolled a tire I sat in during confession, walked down an alley of chain link fences to unblunt barbed wire which I wrapped around my unprotected eyes . Then came the continuous flogging with a rope and an electric cord which I dipped in metal buckets of fake blood. With each slap in the back, I was hitting back at a canvas in front of me that was covered in layers of ableist and confrontational dialogue. Throughout this performance, there was a color change and fluctuating light as well as a rumbling sound coming from two speakers. We turned up the volume so the room would shake after confession and the Lord’s Prayer. I have to be accommodating so I made sure earplugs were available and reminded people to bring goggles that would reduce the light if it was too much. The audience was made up of neurodiverse, neurotypical and ableists. This is an intense example.

Which artists are you inspired by?

I love Francis Bacon, Louise Bourgeois and Tracy Emin. The artists of my childhood would be Monet, Salvador Dalí and Alberto Giacometti. Artists who do things for stage and screen are also artists that I appreciate. Ingmar Bergman, Lars Von Trier, Gaspar Noe and Dario Argento are just a few for the movies. For the stage, it’s a lot of Sir Andrew Lloyd Webber.

Upcoming shows?

I’m currently working on a solo show for Surface Noise on Baxter. I look back at everything I’ve compiled in the studio, and I’m very happy with what I have. Some parts have not yet been seen. I also have other performance art ideas that I can’t wait to work on.

What is your artistic background and how did you start?

I think it was around 3 years old that I started drawing. I was also doing pottery lessons at that time. I grew up in the Presbyterian Church. I didn’t like most of the reasons I attended, so I would run off to the library or work room during services or events to do things. You would never find me without a pencil or paper. I started painting in watercolor in college with the church elders. I immediately quit after the death of the instructor. Then a friend of my mother gave me her mother’s colors and pastels when she died. I started painting as soon as I got them and have continued to focus on painting ever since. I took studio classes and workshops from time to time in my childhood and teenage years. When I graduated from high school, I only went to art school for a week. I love to teach, so I have conducted workshops for adults and children with developmental disabilities at the library and for other organizations in the Louisville area. Then I did internships, summer camp counseling, and volunteering in the Speed ​​Art Museum’s studio programming, Art Sparks, and after-hours events. I have been a private artist mentor and tutor a few times.

What themes are you exploring at the moment?

I use stimulation and overstimulation to explore mental health and environmental factors, ableism and accessibility, emotionality and eroticism. But ableism has been a big word in my mind for a while now. There is still a lot of stigma and structural issues when it comes to the lives of people with disabilities. I think this is a very important topic that society still neglects. On a more stimulating note, I explore eroticism and intimacy. Sex is a spectrum I want to explore more and how it affects mind and body.

How does the duty of the modern artist differ from that of certain artists of the past? What do you think we still have in common with previous artists?

Technology. Technology is a big difference I see in the duty of a contemporary artist compared to those of the past. I think it’s vital for communication and for your work to be seen by a wider audience. I think what artists have in common is that we look at the world through a philosophical lens, where art portrays the nature of knowledge, reality and existence.

Have you had any gigs outside of Louisville? Where?

One of my first shows was a group show in Rosemont, Illinois. It was the gallery of the Chicago O’Hare Intercontinental hotel. I had the opportunity to see my work featured in an interview on the set of “Good Morning Chicago” with other amazing artists. I was in another group show called “Hidden Truths” in Cosa Mesa, CA at the Gray Matter Museum of Art.
I have a few acquisitions in public spaces in the nautical village of Cape Vincent in upstate New York and have had work exhibited at their local gallery The Breakwater. It’s a nice little area with a lot of history.

Collaborations with other local artists?

I intend to collaborate after this exhibition and I can’t wait to see what we will do.

What’s in your creative playlist?

Diamanda Galás and a lot of metal. Also electronic and classical background music.

“Don’t Push, Pull” by Brennen Cabrera.

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Debt consolidation: good solution or terrible mistake? | Hobbies

For the person drowning in debt, a debt consolidation loan is like a lifeline. But reaching for it without knowing exactly what it’s made of could be a big mistake.

The way it’s supposed to work: You pay off all your small, high-interest consumer debt with the proceeds of a new, low-interest loan whose payment is less than the total of the smallest payments.

In theory, consolidation is a terrific solution for a heavy debt situation. In reality, it can force you into even more dangerous waters.

There are three ways to consolidate:

No. 1: A new, low-interest (unsecured) signature loan from an individual, bank, or credit union. If you can get it, this type of debt consolidation is ideal.

No. 2: Transfer all balances to a new credit card. Beware of excessive transfer fees or other annoying terms buried in the fine print. Credit card interest is always likely to increase, even when advertised as a “fixed rate”.

No. 3: A home equity loan. It sounds great to pay off your high-interest debt with money borrowed from your home equity. But that only raises the stakes. Now, if you fall behind, the lender takes your home through foreclosure.

There is another significant danger that all of these consolidation loans have in common: I call it the “double effect”. If you’ve ever lost 10 pounds and gained 20 back, you’ll understand right away. Most people who pay off all their pesky credit card balances look at those zero balances with a sense of personal accomplishment. They did something remarkable. They didn’t pay their debts, but they liked to pretend. They say they won’t use these accounts anymore but don’t close them. They leave them to “build up credit” or to provide a cushion – just in case of an emergency.

Statistics indicate that the person consolidating a new loan will enjoy zero balances for a short time, but end up charging them at all-time highs. The average period is two years. This means double the trouble because of the debt consolidation loan.

So are all debt consolidation loans prohibited? No, but they must enter with extreme caution and great consideration.

Before proceeding with any debt consolidation loan, make sure you get honest answers to these tough questions:

No. 1: Is the total consideration of the debt consolidation loan (principal and interest), and not just the monthly payment, less than the combined consideration of all the debts it will repay?

No. 2: Are the terms reasonable? If, for example, the new loan or the new credit card carries significant penalties – such as you lose the attractive interest rate if you are late once or twice – this is not reasonable. If you have to pay large loan origination fees, that’s not reasonable.

No. 3: Am I mature enough to cancel accounts that will be refunded during the consolidation process?

Except in extreme cases, the best way to deal with a load of unsecured consumer debt is to stop adding to it, work out your recovery plan, then buckle up and get to work!

You will be amazed at how quickly you can reverse your debt situation once you know exactly when you will be debt free.

This is an update to a column originally published in 2014. Mary invites you to visit her at EverydayCheap skate.comwhere this column is archived with links and resources for all recommended products and services.

Mary invites questions and comments to https://www.everydaycheapskate.com/contact/, “Ask Mary.” This column will answer questions of general interest, but letters cannot be answered individually. Mary Hunt is the founder of EverydayCheapskate.coma frugal living blog and the author of the book “Debt-Proof Living”.

Afrojack returns to the release radar with a Surprise Club EP


Following its latest partnership with Universal Music Group, Afrojack returns to its roots to make its debut Afrojack Presents NLW.

A formidable artist who has been a force in the electronic music scene for over a decade, afrojack has an intuitive understanding of dancefloor energy and catchy hooks. His music embodies the uplifting power of club culture and resonates with the crowd through all the catchy melodies and uplifting anthems. After announcing its recent partnership agreement with Universal Music Groupthe Dutch DJ surprises fans with his latest seven-track EP, Afrojack Presents NLWon its own print label, Wall records.

The cleverly designed can opener”123kicks off an exciting entry into the collection. Fans would immediately recognize this electrifying banger as a staple of Afrojack’s festival setlists. Then comes the inevitable cut, “Mouba 22which draws listeners into an unprecedented adrenaline pump with its addictive beats to keep them completely immersed in the climax. Combining high-octane synthesis, Afrojack once again demonstrates its dynamic capability in “Laser” to deliver a bold statement. Listeners will immediately be transported to a deep dimension through jerky rhythms hugged by the track’s twisting energy.

To add the icing on the cake, Afrojack teams up with a stack of esteemed dance artists on the rest of the disc to send listeners straight into the Ibiza nightlife vibe. Together with R3HAB and Ambush MCAfrojack serves up the club-ready track”let me see those hands” which will almost instantly make listeners raise their arms to the pounding melodies. Then, as the title suggests, “DRUMSimmediately levitates into a relentless percussive frenzy with the hardcore sound of drums and bass. Afrojack joins forces with Cesqueux for a searing offering that brings out a raw intensity of otherworldly beat work.

In the penultimate song, get impressed by the punchy, hard-hitting kicks of “TechWow” as Afrojack creates a frenetic rhythm with Sidney Samson to bring the dance floor to a climax before smoothly cascading into an unwavering rush. Even on the final track, “Freeze“Afrojack teams up with Kura to deliver heavy elements of sophisticated grooves and glitch-like sound effects, reminding listeners that the party has only just begun.

With each track loaded with rock-solid electro drum beats and acid-tinged synth lines, Afrojack’s signature production of intricate overlays deliver a refreshing take on club music, as you’ll find yourself swirling through the propelling tone. and high-octane sensitivities from start to finish. Overall, this EP shines a light on Afrojack’s impressive versatility in the studio, which he has so skillfully translated into festival anthem territory.

The collection of pieces in Afrojack Presents NLW represents the DJ’s answer to clubbers who are ready to let off steam on the dancefloor again. Stream the EP on your favorite music platform while heading back to the clubs.

Afrojack Stream – Afrojack Presents NLW on Spotify:

Afrojack- Afrojack Presents NLW – List of tracks:

  1. 123
  2. Mouba 22
  3. Laser
  4. Let Me See These Hands (with R3HAB and MC Ambush)
  5. BATTERY (with Cesqeaux)
  6. Tech Wow (with Sidney Samson)
  7. Freeze (with Kura)
Afrojack NLW EP

Follow Afrojack on social media:

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Wire EDM Machine Market Value Chain | Dynamic | Provide


The analysis offers an intensive analysis of market abuse every qualitative and quantitative knowledge. It offers an overview and projections for the global Wire EDM Machines market supporting numerous segments. It further provides market size and forecast information for each of the 5 key geographical regions: North America, Europe, Asia-Pacific, East-Central and Africa, and South America. the various divisions of the global Wire EDM Machines market unit created from the relevant nations and market sectors in each region. The report provides knowledge on regional business outlook and current trends in addition to global analysis and forecasts from numerous countries.

In this report, you will find a separate summary, business description, product portfolio, essential financials, and more. of each company, once the evaluation of the market aggressiveness in the global Wire EDM Machine market. furthermore, market growth ways, fly analysis, Porter’s 5 forces analysis, supply chain analyzes and market contingencies area unit are included.

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Other components, like year-over-year market growth and qualitative and quantitative insights, are considered in addition to the expected CAGR. along with market product portfolio, market proof and categorization, market size, value and volume are provided. the most recent innovations and developments within the global Wire EDM Machines business are highlighted.

The Applied Mathematics information provided in this report relies on the Wire EDM Machine market primary, secondary investigation and study and media postment. This includes the knowledge of a global group of specialists of notable market players to provide the most up-to-date information on the international Wire EDM Machine market. Going forward, the segmentation analysis is clearly explained considering all the numerous opportunities relevant to the Wire EDM Machines market conditions. The market is analyzed by the supply facet, considering the Wire EDM Machine penetration for all regions of the world.

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Rocket rolls out home equity loans for debt consolidation

A new product to pay off high-interest credit card debt will be offered to millions of users of Rocket’s personal finance app, Truebill.

Rocket Companies has a new product to market to millions of users of its personal finance app, Truebill – home equity loans.

The rocket is throw subsidiary Rocket Mortgage’s new home equity loan as ‘one more way to pay off debt that has risen with inflation’ as Federal Reserve interest rate hikes drive up the cost of a card balance credit. Although mortgage rates are also up, topping 6% in June, credit card issuers often charge double-digit interest rates.

According to latest data Federal Reserve credit card and other revolving debt fell from $973 billion in the first quarter of 2021 to $1.11 trillion in May. Thanks in part to astronomical appreciation in house prices, Americans have about 10 times more workable equity in their homes – about $11 trillion or $207.00 per owner, according to real estate data aggregator Black Knight.

Fed data shows that credit card users who carried a balance in their account paid an average interest rate of 16.65% in May, compared to 15.9% in the first quarter of 2021. Even personal loans are often a better deal with rates on 24-month loans averaging 8.73% in May, according to the Fed.

Now, Rocket can offer consumers who want to consolidate high-interest debt at lower rates the option of taking out a home equity loan or a personal loan.

Rocket subsidiary Rocket Loans offers personal loans from $2,000 to $45,000, while Rocket Mortgage’s new home equity loan allows homeowners to take out fixed rate loans from $45,000 to $350,000 over 10 or 20 years.

Bob Walters

“Our goal is to consistently create financial products that help our clients achieve their goals,” Rocket Mortgage CEO Bob Walters said in a statement. “In today’s market, short-term interest rates have risen sharply, making it much more difficult to pay off credit card debt. With our new home equity loan, customers can improve their lives by getting a payment they can more comfortably afford.”

Both products will be offered to users of Rocket’s personal finance app, Truebill, which Rocket acquired in December for $1.27 billion. Truebill, which will change its name to Rocket Money in August, had 3.4 million users as of March 31, and Rocket hopes to attract even more consumers to the app by offering free premium accounts to 2.6 million Rocket customers. Mortgage.

The nation’s largest home loan provider, Rocket Mortgage closed $351 billion in mortgage volume across all 50 states in 2021 from loan origination centers in Detroit, Cleveland and Phoenix.

But as rising interest rates crippled its mortgage business, Rocket repositioned itself as a fintech platform, with a stable of related businesses.

In addition to Rocket Mortgage, Rocket Loans and Truebillbusinesses under the Rocket umbrella include:

  • Central spindle: A centralized hub for fintech platform Rocket Cos. providing technology, accounting, legal services, public relations and human resources. It is formerly known as Rock Central.
  • rocket houses: A real estate brokerage and research portal that allows consumers to search multiple listing service data for homes, connect with a real estate professional, and get mortgage approvals through Rocket Mortgage.
  • ForSaleByOwner.com: An online marketplace for consumers to buy or sell properties on their own, offering financing through Rocket Mortgage.
  • Amrock: A national provider of title insurance, real estate appraisals and settlement services and “Preferred Provider” to Rocket Mortgage.
  • Amrock Title Insurance Co. : A nationwide title insurer, providing underwriting services to the national title insurance agent, Amrock.
  • automatic rocket: A virtual market where consumers can buy cars offered by a network of dealers.
  • LowerMyBills.com: An online comparison service for mortgages, credit cards, insurance, loans, home services and personal finance.
  • Basic digital media: A digital, social and display advertiser generating leads for mortgage, insurance and education providers.
  • Nexys Technologies: Software solutions to streamline, digitize and automate mortgage processes.
  • Rock connections: A sales and support platform providing contact center services including appointment scheduling, customer pre-qualification, lead and effectiveness consulting, lead generation, reporting and analysis.
  • Rocket Innovation Studio: Recruit and mentor technology talent to meet the needs of Rocket companies.
  • Woodward Capital Management: An issuer of private label mortgage-backed securities, providing funding for loans issued by Rocket Mortgage.
  • Lendesk: A Canadian mortgage technology provider of products to digitize and simplify lending.
  • Edison Financial: A Canadian digital mortgage company that uses Lendesk’s Spotlight as its lender submission platform. Edison Financial will rebrand Rocket Mortgage later this month.

Get Inman’s Extra Credit newsletter delivered straight to your inbox. A weekly roundup of all the biggest news from the world of mortgages and closings delivered every Wednesday. Click here to subscribe.

Email Matt Carter

New this week: “The Sandman”, “My life as Rolling Stone”


Here’s a curated collection from the Associated Press’ entertainment journalists of what’s coming to TV, streaming services and music platforms this week.


– Ron Howard is a master of headline-ripping drama and this time he tackles the riveting story of the 2018 rescue of a boys’ soccer team from Tham Luang cave in the new movie ‘Thirteen Lives’, at Coming to Prime Video Friday, Colin Farrell and Viggo Mortensen play the English cave divers who travel to Thailand to help with the impossible rescue mission. The film is careful to present a holistic picture of all the disparate components that came together to ensure the success of the rescue, including the help of Thai Navy Seals, cave and water experts, and neighboring farmers. As in “Apollo 13”, it doesn’t matter that we already know the ending: Howard makes it a suspenseful and thrilling adventure.

– Rebecca Hall plays a single mother to a teenage daughter whose busy life is turned upside down when a figure from her past, played by Tim Roth, returns in “Resurrection” taking with him the “horrors of her past.” Writer-director Andrew Seman’s film caused a stir at the Sundance Film Festival earlier this year and will be available to rent Friday from IFC. As with Hall’s unsettling turn in “The Night House,” his performance in this devilish psychological thriller promises to sink deep into your psyche.

— Lindsey Bahr, AP Cinema Screenwriter


— Has it really been five years since Calvin Harris released his awesome “Funk Wav Bounces Vol. 1”? It is, but now it’s time to celebrate: Vol. 2 drops this week. You’ve probably heard “Potion” with Dua Lipa and Young Thug and the list of contributors on “Funk Wav Bounces Vol. 2” is stunning: 21 Savage, Stefflon Don, Chlöe, Charlie Puth, Pusha T, Shenseea, Tinashe, Normani, Lil Durk, Halsey, Offset, 6lack, Justin Timberlake, Coi Leray, Busta Rhymes, Donae’O, Latto, Pharrell , Swae Lee, Jorja Smith and Snoop Dogg. A disco throwback ahead of Friday’s release is “Stay With Me,” which features Timberlake, Halsey, and Pharrell.

– Rising country star Travis Denning has a six-song EP that shows off a lot of his style. “Might As Well Be Me” includes the sweetly rocking song “Buy a Girl a Drink”, the ballad “She’s On It” and the upbeat “Don’t Give a Truck”. Hailing from Warner Robins, Georgia, Denning celebrated his first No. 1 single with “After A Few” and made waves with the release of his first Top 40 single “David Ashley Parker From Powder Springs.” He is currently on the road this summer with Dierks Bentley and will join Jake Owen on tour this fall.

— T Bone Burnett is back for the second installment of his project The Invisible Light, which is a fusion of trance, electronic, folk, tribal and global music. The first installment in the trilogy, “The Invisible Light: Acoustic Space”, was released in 2019 and now it’s time for “The Invisible Light: Spells”, to be released on Friday. Burnett teamed up again with Jay Bellerose and Keefus Ciancia. Among the singles from the nine-track album are the utterly eerie spoken word “Realities.com” and the captivating and driving “I’m Starting a New Life.”

– Mark Kennedy, AP Entertainment Writer


– Straight out of San Diego Comic-Con, here is “The Sandman”. Neil Gaiman, who wrote the acclaimed series of graphic novels published by DC Comics, developed and is executive producer of the 10-episode series which debuts Friday on Netflix. Tom Sturridge plays the title character, who is everyone’s dream control center until he is captured and imprisoned for a century and more. His mission: to travel across worlds and time to repair the damage caused by a fall at work. The sprawling and eclectic cast includes Boyd Holbrook, Patton Oswalt, Jenna Coleman, David Thewlis, Stephen Fry, Asim Chaudhry, Sanjeev Bhaskar and Joely Richardson.

– As the title suggests, the four-part docuseries ‘My Life as a Rolling Stone’ takes a one-on-one approach to band members Mick Jagger, Keith Richards, Ronnie Wood and the late Charlie Watts. Each is the subject of an hour-long film that draws on never-before-seen and archival interviews and unseen footage to create “intimate” portraits of the artists. The films also trace how they came together to create a timeless work. The chapter on Watts, who died in August 2021 at age 80, includes tributes from fellow band members and peers. The series kicks off Sunday on the Epix channel with Jagger’s story and continues Sunday through August 28.

— Lynn Elber, AP Television Writer


Find AP’s entertainment coverage here: https://apnews.com/apf-entertainment.

Vaccines, chicken curry, mushroom talk and music duets


Have you scheduled your monkeypox vaccine (MPV) yet? While the virus is spreading rapidly among people who have sex with MSM (men who have sex with men), anyone can catch it. Intimate skin-to-skin contact with someone who has MPV is the riskiest activity (note that condoms alone are probably not enough to prevent transmission), but kissing, cuddling and dancing indoors at crowded parties could also be risky, as MPV can spread spread by respiratory secretions during prolonged face-to-face contact. Contact. Although less likely, even sharing drinks and intimate contact items like bedding and towels can put you at risk. You’re very unlikely to typically catch it walking through public spaces or from fabrics or surfaces during routine activities like working out, commuting, or trying on clothes. The CDC maintains an updated guide to MPVs and social gatherings here. So who should be concerned about getting the MPV vaccine right now? Anyone who knows they have been exposed to it through a close contact is the highest priority for a vaccine, but the Chicago Department of Public Health also advises it for “gay, bisexual and other men (cis or trans) having sex with men age 18 or older who had multiple or anonymous sex partners, sex in a social or sex venue, or sex for money or goods in the past 14 days . Only you can know your level of risk, but protected sex is sexy! To schedule your appointment, check the Department of Health’s website for a growing list of providers. (MC)

Monday Night Foodball is offering a ‘summery, South Indian’ menu tonight in the form of Thommy’s Toddy Shop, a pop-up chef takeover at the Kedzie Inn (4100 N. Kedzie) by chef Thom Padanilam. Padanilam will offer more than a few choices, including curried Kerala fried chicken mixed with red chutney and served with coconut rice and zucchini. And behind the bar for those who want to make it an evening, Jon Pokorny will concoct a special cocktail consisting of mezcal, mango puree and ginger pickle. Pre-orders are available at Tock, but a limited amount of food will be available for walk-in purchase. The Delight will perform from 5 p.m. to 9 p.m. (SCJ)

Are you a mushroom? Have fungus in your life for more mycological knowledge? OK, I’ll stop there but if you picked up what I wrote, you might be interested in tonight’s one Illinois Mycological Association Online social zoom dedicated to Show and Tell, mushroom style! (I was working on another pun for this sentence, but didn’t want to get into the truffle.) Join the members and friends of the Mycological Association at 7:30 p.m. to hear some fun memorabilia collected while mushroom hunting, see participants’ mushroom collections themed objects and explore mushrooming and picking as a hobby. The public is invited, but you will need to email [email protected] to receive the Zoom link. (SCJ)

If you haven’t been out to see live music on the weekend, there are some great options tonight. At Constellation (3111 N. Western), the Baltimore-based duo Matmos perform their music and experimental electronic sound, focusing on material from their Thrill Jockey releases, including The consuming flame and plastic birthday. Jeff Carey opens and the 18+ show begins at 8:30 p.m. Proof of vaccination against COVID-19 is required at the entrance of the site. And at Empty Bottle (1035 N. Western), you’ll find a completely different duo offering their wares: Telekinetic Yetithe Iowa doom band that Reader contributor Monica Kendrick called trippy and fuzzy (for psychedelic doom bands, that’s high praise) in her preview of the 2018 Scorched Tundra Festival. Yet another duo opens up for them: New York psychedelic rockers White Hills, which start at 8:30 p.m. Advance tickets are available on Eventbrite. (SCJ)

Orbital: 30 Something review – mean celebration of pioneer ravers | Orbital


MMaybe no one will believe the Hartnoll brothers the next time they announce they’re going their separate ways again, after playing at least two “last” gigs. No matter. As electronic dance duo Orbital, Phil and Paul Hartnoll presided over the birth of British rave culture, and they’ve earned the right to as many victory laps as they want. Almost 33 years after the breakthrough first single Carillonthis three-hour celebration runs through their 1990s catalog, adapting it to today’s dance floors for their last tour.

Much of it is fairly dispensable, with new songs Smileys and generic, lackluster Acid Horse, offering little of the gift for transcendent melody wrapped around hard beats that made Orbital so iconic. Fortunately, the tour-ready updates of Chime, Impact (The Earth Is Burning) and Halcyon + On + On are far more engaging, and a trippy, tense Belfast rivals the original for quality. The remix discs herald their decent taste among collaborators, with Logic1000, David Holmes and Brazilian techno powerhouse Anna providing solid touches. Too bad, though, that there are five takes on Belfast, but no room for new versions of the impossibly pretty classics from the Lush 3 and Kinetic brothers.

UMAIR releases “Tu Kahan” with Hasan Raheem | Camber

Produced, mixed and mastered by UMAIR, ‘Tu Kahan’ is a letter to the one who got away.

rom turning heads with sound Coke Studio 14 collaboration with Justin Bibis and Hasan Raheem for ‘Peechay Hutt’ to land his fierce collab Naseebo Lal’Aag’ on the soundtrack of the Disney Plus series, Ms. MarvelTalal Qureshi is in his groove.

Among his latest releases are songs such as ‘Faltu Pyar‘ with Natasha Noorani and Hasan Raheem, and ‘Hmm with Faris Shafi, the latter being an ode to Shafi’s late father.

As a music producer, Talal refused to be labeled and showed he could do anything from lo-fi to trap to ambient without glorifying himself in the context of a song.

As fans decipher her new song featuring Faris Shafi, ‘Hmm‘, in an audio and visual context, Talal Qureshi is not the only one doing collaborations in this post-pandemic, tech-dependent world like never before.

Hasan Raheem released a song this month titled ‘Tu Kahan‘ after collaborating with Karakoram (‘Kyun’) followed by Natasha Noorani and the formidable film by Talal Qureshi ‘Faltu Pyar’.

As well as releasing an acoustic version of ‘Kyun’Hasan released a song titled ‘Tou Kahan’, essentially a collaboration with Karachi-born artist UMAIR. Produced by UMAIR, ‘Tou Kahan’ is written and performed by Abdullah Maharvi, JANI & Hasan Raheem with UMAIR producing, mixing and mastering the song.

UMAIR comes out

Technically, it’s an UMAIR song where he put together a team of artists and it works well. Not all songs are worth considering because we have so much content at our disposal and we only have so many hours in a day. But aside from the fact that any song ft. Hasan Raheem automatically attracts attention, this UMAIR production is very good. On the one hand, he makes no effort to become something like ‘Peechay Hutt‘. This hip-hop and slightly R’n’B track is a love letter to the one who fled. The lyrics describe this story in no uncertain terms; interpreting how we listen to and vibrate to a song is another thing. Since we were unable to find a full-scale music video, the song on Youtube has illustrations you can look at while listening. If the lyrics point to grief, the electro-music also stays true to the idea. This ambient beauty makes for a great song if you give it a chance. UMAIR, like Hasan and Talal, builds his discography, working with other artists, eminent or not. However, it may be the strongest song to come out of their musical camp and we can only hope that UMAIR’s musical stay will continue to show artistic growth. After all, electronic music and hip hop seem to be the voice of the current generation and the competition is getting cheekier, edgier, almost daily. Moreover, it has gone from what was considered compelling (musically) ten years ago, at home and abroad, closely followed by many of us.

Osheaga 2023 | Programming | Tickets | Schedule | After the Holidays | Appointment | Map


Osheaga 2023 is an independent music festival with electronic music, indie rock and hip hop programming. Osheaga takes the best domestic talent in Canada and puts them alongside international artists for a dynamite weekend in Montreal.

The lineup for Osheaga 2023 has yet to be announced. See the Osheaga lineup section further below for a full list of artists who will be performing. Check back for updates.

Osheaga 2023 Tickets are not for sale. Weekend and day tickets are available for each of the three days. Tickets are available at General Admission, Gold, Platinum and Table Gold levels. Hit the Osheaga Tickets section below for details on tickets and access to passes.

The expected 2023 Osheaga Calendar are from July 28 to 30, if the festival continues on the same weekend as the previous one. These dates are unconfirmed, so check back for updates.

It usually takes place at Parc Jean-Drapeau on Île Sainte-Hélène with main scenes side by side. You get multiple stages of different sizes to provide a variety of live music experiences.

Osheaga’s latest lineup included A$AP Rocky, Dua Lipa, Arcade Fire, Yeah Yeah Yeahs, Burna Boy, Machine Gun Kelly, Kygo, Khruangbin, Glass Animals, The Kid Laroi, Porter Robinson, Glass Animals, Chris Lake, Caribou , Seven Lions, Royal Blood and more.

The Osheaga 2023 Programming and Osheaga 2023 Tickets are below!

Osheaga tickets are not on sale. Weekend and day tickets are usually available for each of the three days. Tickets are at the General Admission, Gold, Platinum and Table Gold levels.

Click the button below for more details on tickets and access to passes:

What are you wearing at Osheaga 2023? Head to our Spacelab Store for festival essentials! SHOP NOW >

Osheaga 2023 Tickets

Check Osheaga 2023 Ticket Status

2023 Osheaga Schedule

The map of Osheaga locations from the last event, this could give clues as to how the next one might be laid out.

Osheaga 2023 Programming

Check the status of Osheaga 2023 programming SEE THE RANGE >

Osheaga 2023

Your best festival weekend of the year can be Osheaga 2023

Osheaga 2023

Osheaga 2023 takes top domestic talent in Canada and puts them alongside international artists for a dynamite weekend in Montreal

Osheaga 2023 will be like this

Osheaga 2023

Osheaga 2023 has electronic music, indie rock and hip hop

Osheaga 2023 Tickets

Check Osheaga 2023 Ticket Status SEE TICKETS >

Osheaga’s schedule will be posted here as soon as it is announced.

Osheaga’s lineup for 2023 will be posted here when announced.

Click the button below for more details on tickets and access to passes:

Osheaga Programming

Osheaga’s previous lineup included A$AP Rocky, Dua Lipa, Arcade Fire Yeah Yeah Yeahs, Burna Boy, Machine Gun Kelly, Kygo, Khruangbin, Glass Animals, The Kid Laroi, Porter Robinson, Glass Animals, Chris Lake, Caribou, Seven Lions, Royal Blood and more.

E-Bike Subscription Platform Market Reaches New Heights, Advanced Technologies Help Top Players Increase Their Net Worth: Uber, Zoomo, Dance, Zygg


Electric Bike Subscription Platform Market forecast research report 2022-2028 is a type of intelligence report that involves a rigorous search for relevant and useful data. The data analyzed takes into account both current and future competitors. The business strategies of leading companies, as well as those of new market entrants, are scrutinized. This report analysis includes well-described information SWOT analysis, revenue share and contact information. It also gives information on market development and capabilities. The report offers a detailed picturegraph, pie chart, table, summation chart, figures and techniques for Electric Bike Subscription Platform market.

We have recent updates in the e-bike subscription platform market in a sample copy (get higher priority for corporate email id): https://www.worldwidemarketreports.com/sample/820794

Segmentation based on Key players

◘ Uber
◘ Zoom
◘ Dance
◘ Zygg
◘ Zypp
◘ eBikeGo
◘ Yulu
◘ COO Rides
◘ Dash towers
◘ Moby Bikes Ltd
◘ Ather Energy

Segmentation based on Type

◘ Electric bikes
◘ Electric scooters

Segmentation based on Application

◘ Individuals
◘ Commercial

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The analysis also includes information on global significant driving industry players in the Electric Bicycle Subscription Platform Market such as company bios, restrictions, production, value, cost, income and contact details. Moreover, market trends, volume, and value are all included in this research. This study, from a global perspective, analyzes the Electric Bike Subscription Platform market size by dissecting historical data and forecasting future possibility.

Segmental analysis

The research splits the global e-bike subscription platform market into segments on the basis of product type and application. Each segment is assessed based on its market share and growth rate. Additionally, the analysts have examined the possible regions which could be profitable for the Electric Bike Subscription Platform Market manufacturers in the coming years. The geographic research provides accurate value and volume projections, allowing market players to gain a comprehensive understanding of the Electric Bicycle Subscription Platform market activity as a whole.

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Leaders/new entrants in this market will benefit from the report’s insights into the closest estimates of revenue statistics for the overall market and its sub-segments. This research will help stakeholders position their businesses well and develop appropriate marketing strategies.

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The purpose of the research is to reveal trends and potential future opportunities in the e-bike subscription platform industry globally. Several drivers and barriers, opportunities and concerns will be explored within the time frame according to the market analysis. In addition, the study examines regional market trends that may affect growth between 2022 and 2028. The study aids in uncovering new marketing opportunities and provides a comprehensive picture of the global Electric Bicycle Subscription Platform market.

Electric Bike Subscription Platform Market Size, Status and Forecast 2028 ToC

  1. Market overview
  2. Manufacturer Profiles
  3. Global Sales, Revenue, Market Share and Competition by Manufacturer
  4. Global Market Analysis by Regions
  5. North America by country
  6. Europe E-bike subscription platform by country
  7. Asia-Pacific by country
  8. South America by country
  9. The Middle East and Africa by country
  10. Global Market Segments by Type
  11. Global Electric Bike Subscription Platform Market Segment By Application:
  12. Electric Bike Subscription Platform Market Forecast
  13. Sales channel, distributors, traders and resellers
  14. Research results and conclusion
  15. Annex

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The 20 Best Calvin Harris Songs – Ranked! | calvin harris


20. Scissor Sisters – Only Horses (2012)

After meeting Jake Shears during sessions for Kylie Minogue’s 2010 album Aphrodite, Harris was asked to do some additional manipulation on this barnstorming single from the band’s Magic Hour album. The lyrics eschew camp in favor of wistful introspection, while Harris guides the song through its chorus with an audible snap, like a discharging party popper.

19. Calvin Harris – Hard to Love with Jessie Reyez (2017)

While the Funk Wav Bounces Vol. 1, which redefined his career in 2017, mixed with laid-back funk, 80s rebound and disco, it was this closer album – anchored by the rough-hewn vocals of Canadian-Colombian Reyez – that showed Harris could do downtempo. Over a simple scratchy guitar figure and pitter-patter rhythms, Reyez has the space to draw the listener into his orbit.

18. Love Regenerator – Solitaire with Riva Starr and Sananda Maitreya (2022)

In recent years, Harris has channeled his more danceable output through his alias Love Regenerator, crafting ad hoc singles that feel less pressured than his major production. Best of the bunch is the slow-paced Lonely, which features additional production from Riva Starr and a gorgeous central performance from the artist formerly known as Terence Trent D’Arby.

17. Sophie Ellis Bextor – Off & On (2011)

Originally recorded, though not used, by Róisín Murphy for her 2007 pop opus Overpowered, this Cathy Dennis co-writing eventually found its way to Sophie Ellis-Bextor. Using a swaying synth riff to anchor the confusing feeling of the lyrics, it eventually begins to disintegrate like the relationship Ellis-Bextor casually describes.

16. Calvin Harris – New Money ft 21 Savage (2022)

Of the handful of Funk Wav Bounces Vol 2 singles to have emerged so far – all packed with guest stars fighting for their 10 seconds in the sun – only this svelte slice of cascading funk has a chorus that sticks. And what a chorus it is, with Atlanta rapper 21 Savage cooing, “Gucci/Kush clothes smell like armpits,” over Harris’ strutting bass.

15. Calvin Harris – Acceptable in the 80s (2007)

With an instantly recognizable central riff – used endlessly on various Channel 4 TV shows – Acceptable in the channels of the 80s, the titular decade and the playful electronic mode of round the world era Daft Punk. However, any hint of French whimsy is undermined by Harris’ tongue-in-cheek singing style.

14. Dizzee Rascal – Dance With Me (2008)

Head turned by Acceptable in the 80s, Dizzee Rascal asked Harris to be part of his pop-leaning fourth album, Tongue n’ Cheek. As well as evoking the song’s gloriously sloshed backing track – referred to by Pitchfork as sounding like “H&M disco” – Harris delivers some key lines, including the brilliant instruction: “Tell your boyfriend to hold your potty. “

13. Cheryl – Call My Name (2012)

While it definitely suffers from being a We Found Love redux, there’s something beautifully basic about the way Call My Name hovers over various EDM strands. From simple synth riffs and flagged drops to lackluster “ah, oh, oh, oh” ad-libs, much of it sounds called, but overall it carries a strange magic.

12. Calvin Harris – Slide with Frank Ocean and Migos (2017)

Calvin Harris: Slide with Frank Ocean and Migos – video

As the first single from Funk Wav Bounces Vol 1 – and Harris’ slinky step away from pure dance – Slide had some pretty heavy work to do. Built around a light beat and warm handclaps and organ sounds, it features a horizontal-sounding Frank Ocean who sleepily listens to the song’s chorus before Migos quickly counteracts that energy with a delirious verse.

11. Calvin Harris – Outside with Ellie Goulding (2014)

Outside – the duo’s second collaboration after 2012’s I Need Your Love – places Goulding’s ethereal vocals lightly above a swirl of strings that ultimately form the song’s piercing riff. While other songs from 2014’s hit album Motion strove to tick the dance-pop boxes, Outside feels relatively restrained.

Normani performing at the 2021 MTV Video <a class=Music Awards.” src=”https://i.guim.co.uk/img/media/bc85ed623ab87e538ff1dec081d9cc0ec2409cf9/1259_0_3333_4165/master/3333.jpg?width=380&quality=85&fit=max&s=ff62047b1ffa39db4e5b403ce630a7a9″ height=”4165″ width=”3333″ loading=”lazy” class=”dcr-4zleql”/>
Normani performing at the 2021 MTV Video Music Awards. Photo: Theo Wargo/Getty Images for MTV/ViacomCBS

10. Normani x Calvin Harris – Checklist with Wizkid (2018)

Six months after the demise of sporadically good girl group Fifth Harmony, every savvy pop fan’s favorite member Normani has teamed up with Harris for two singles. The pick of the pair is this Afroswing-inspired, Wizkid-assisted banger, which finds Normani half-rapping his frustrations over a club-ready night beat that seems to ooze sweat from his pores.

9. Calvin Harris – That’s What You Came For ft Rihanna (2016)

Co-writer Taylor Swift was originally credited under a pseudonym to prevent her brief relationship with Harris from dominating discourse; Harris later confirmed the co-writing, but pointedly noted that he “wrote the music, produced the song, arranged it and cut the vocals”. Although initially overshadowed by the drama surrounding its creation, this third Harris/Rihanna collaboration is a rhythmic yet danceable opus that swirls like a tornado.

8. Calvin Harris – I Am Not Alone (2009)

Described by Harris as “a great stadium dance track, somewhere between Snow Patrol, Faithless and Grandaddy”, the melancholy I’m Not Alone starts small, with Harris mournfully intoning over a scratchy guitar riff, before suddenly rising to his glow sticks- highlight in the air. Part of the EDM explosion in the US, in 2010 it was sampled by Chris Brown on his US Top 10 single Yeah 3x.

7. Rita Ora – I Will Never Let You Down (2014)

Channeling the overwhelming joy of ’80s Whitney, this 2014 single – written and produced solely by Harris – is built around a twisting synth riff that slowly explodes in the song’s chorus. In fact, just when you think he’s peaked, Harris unleashes a heavily filtered guitar riff for an extra dash of hysteria.

6. Kylie Minogue – In My Arms (2007)

Harris’ first high-profile production for another artist, In My Arms packs a beautiful lyric about the power of a good hug into a hermetically sealed electropop confection. Beginning with a delightful spoken word intro that asks the perennial pop question – “How do you describe a feeling?” – the song is quickly launched skyward by Harris and co-producer Biff Stannard via a cavalcade of synths.

Dua Lipa at the Primavera Sound festival in Spain. Photography: Alejandro García/EPA

5. Calvin Harris and Dua Lipa – A Kiss (2018)

Eschewing EDM for club-ready BPM, the sophisticated, Brit-Award winning One Kiss finds Harris dabbling in everything from UK garage to house diva, its post-chorus a wordless nostalgic spiral that returns to the dancefloors of the 90s. Dua Lipa’s distinctively aloof vocal performance makes her lyrical appearance oddly tinged with sadness.

4. Calvin Harris – Bounce ft Kelis (2011)

After a series of singles featuring his own… unique vocals, Harris used Kelis’ delightfully raspy tones on this dynamic lead track from her third album, 18 Months. “We’re bouncing on this track / And I don’t care what anybody thinks about it,” she sings nonchalantly over a stinging synth riff that slowly turns into one of her best freehand explosions.

3. Calvin Harris – Feels with Pharrell, Katy Perry and Big Sean (2017)

After helping to confirm that EDM is the biggest and loudest genre on the planet, Harris changed course on his fifth album, Funk Wav Bounces Vol 1, replacing hard-hitting house riffs and terrifying drops with a feather-light disco. The relaxed pace works perfectly on this sunny UK No. 1, in which an audibly smiling Pharrell and a restrained Perry, piña colada in hand, weave their way around Harris’ aerial production.

2. Calvin Harris and Sam Smith – Promises (2018)

With playful, silly background vocals from co-writer Reyez, the intoxicating promises feel carried by the rush of new love. Harris allows Smith’s soaring vocals to shine through and polish the production with house-style piano stabs, roaming bass, and delicate little flourishes of funk guitar. It’s a further reminder that Smith should trade the pumped-up ballad for some supple dance music for good.

1. Rihanna ft Calvin Harris – We Found Love (2011)

Rihanna ft Calvin Harris: We Found Love – vidéo

Originally recorded by Leona Lewis and later gifted to Nicole Scherzinger, We Found Love’s eerily deep journey to Rihanna may have been bumpy, but it’s hard to imagine it being sung so well by anyone. another. Uniquely written and produced by Harris – a rarity in a pop world where credits often read like Wikipedia entries – it’s a dance banger that celebrates simplicity even when discussing something as complex as love. . Harris conjures up a frenetic backdrop of two-fingered synth riffs and fiery EDM beats, while Rihanna’s repeated mantra “we found love in a hopeless place” shifts from ingeniously simple pop lyric to somehow encapsulating every unspoken emotion. Cementing Rihanna’s superstar status, it propelled Harris into the production big leagues.

Grammy-winning electronic producer Mura Masa lights up Auckland City Hall

Mura Masa was only 17 when his tracks were covered by some of the biggest names in the UK entertainment industry.

Mura Masa/Provided

Mura Masa was only 17 when his tracks were covered by some of the biggest names in the UK entertainment industry.

EXAM: Elemental Nights are in full swing and on Wednesday night it was the turn of British electronic music producer and composer Mura Masa to take the stage.

On a wet and windy night, Mura Masa fans packed into Auckland City Hall, an intimate setting for electronic enthusiasts to fully immerse themselves in the producer’s unique sound.

Wednesday was the first time Mura Masa made headlines in New Zealand, instead of being part of a festival programme.

Mura Masa, real name Alexander Crossan, was born in Guernsey and started producing his own mixes at the age of 15 and uploading them to SoundCloud.

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One such track, Lotus Eater, was picked up by BBC Radio 1, one of the UK’s most popular radio stations, which propelled the young artist into the mainstream.

Auckland City Hall was an intimate concert venue, allowing fans to get up close to Mura Masa.

Emma Clark-Dow / Stuff

Auckland City Hall was an intimate concert venue, allowing fans to get up close to Mura Masa.

He’s been on the rise ever since, releasing collaborations with some of the world’s biggest artists such as ASAP Rocky (Love$ick), Charli XCX (1 Night) and Stormzy (Gang Signs & a Prayer).

Crossan has been nominated and won a long list of awards over the past four years, including Best Remixed Recording at the Grammy Awards and Best Live Session at the UK Music Video Awards.

Opening the headliner was Wellington-based Kiwi artist Eddie Johnson, better known by his stage name Lontalius.

Johnson slipped silently onto the stage and played a song before muttering, “You’re probably wondering why a sad guitarist is here…that’s a good question.”

Mura Masa probably said about 20 words all night.

Auckland Unlimited/Provided

Mura Masa probably said about 20 words all night.

He then announced “this song is about depression” and launched into another sweet, lilting – albeit sad – melody.

Mura Masa later dubbed Lontalius his “favorite New Zealand artist”, who received whoops, cheers and pats on the back for Lontalius, who had joined the crowd after his set.

The producer’s epic tracks were backed by the dazzling vocals of Fliss and Cosa, which features on some of Mura Masa’s greatest hits.

Mura Masa’s ability to control many instruments simultaneously was incredible to behold and was a true mark of his ability to create award-winning tracks.

Each track followed a similar pattern, with Fliss carrying most of the vocals and crowd work and Mura Masa busy on drums, keyboard and guitar. However, the lighting and projected images are what distinguish each track from one another.

For Hollaback Bitch, the screen played nostalgic images of a Motorola Razor, the “it” phone of the early 2000s, and for Deal Wiv It, images of Britney Spears paraded above the crowd.

The lighting for each song was intense, perfectly in sync with each track’s tempo and guaranteed to make an impact.

The highlight of the evening was when Mura Masa performed one of his greatest hits, Love$ick.

Written by Crossan and performed by ASAP Rocky, it has been streamed on Spotify nearly 385 million times.

Mura Masa's set has been paired with perfectly timed visuals and lighting, to heighten the impact of its carefully crafted sounds.

Emma Clark-Dow / Stuff

Mura Masa’s set has been paired with perfectly timed visuals and lighting, to heighten the impact of its carefully crafted sounds.

It was the pinnacle of the hour-long set, with the crowd dancing their hearts out.

Although the electronic producer didn’t have much interaction with the crowd himself, probably saying a total of 20 words throughout the night, he knows how to make music. Judging by its success and the public reaction, that’s all it has to do.

Mura Masa is now heading to Japan before jumping onto the European festival circuit in August.

His third album, Demon Time, will be released on September 16.

Debt Consolidation Loan Vs. Balance Transfer Credit Card – Forbes Advisor

Editorial Note: We earn a commission on partner links on Forbes Advisor. Commissions do not affect the opinions or ratings of our editors.

If you are looking to consolidate your debts, you may consider using a balance transfer credit card or a personal loan (aka debt consolidation loan). Both options can simplify debt repayment while potentially lowering your interest rate.

Learn about the differences between a balance transfer and a personal loan to decide which debt consolidation approach is right for you.

Balance Transfer vs Personal Loan: What’s the Difference?

A balance transfer involves transferring the balance of one or more credit cards to a new credit card, usually one with a 0% APR promotional period that spans 12-21 months. As long as you pay your balance before the end of this promotional period, you will not owe any interest. If you have a balance at the end, however, you could face high interest charges.

A personal loan, on the other hand, is usually an unsecured loan that you repay in monthly installments. You can use the funds to pay off your existing debts or a lender could pay off your creditors for you. Then you’ll make fixed monthly payments on your loan over a set period of time, usually between one and seven years. Depending on your credit, you may qualify for a competitive rate.

Advantages and Disadvantages of Balance Transfers and Personal Loans

Balance transfers and personal loans have advantages and disadvantages. A personal loan can often offer higher loan amounts and a longer repayment term than a balance transfer, for example. However, you will have to pay interest on a personal loan, whereas some balance transfer credit cards waive interest charges for a year or more.

Benefits of a personal loan

  • You can use a personal loan to consolidate several types of debt, such as credit card balances, medical bills, or other personal loans.
  • Some lenders will repay your creditors directly, which will simplify the debt consolidation process.
  • You might be able to borrow up to $100,000 and get seven years to pay it back.
  • Fixed interest rates and monthly payments make it easy to budget and work towards a specific repayment date.

Disadvantages of a personal loan

  • You can’t get a competitive rate if you don’t have strong credit.
  • Some lenders charge origination fees.
  • You’ll pay interest up front, unlike a balance transfer credit card with a 0% promotional period.

Advantages of a credit card with balance transfer

  • You could qualify for 0% APR for up to 21 months, depending on the card, which can save you money on interest.
  • Without interest, you may be able to pay off your debt faster.
  • Some cards don’t charge an annual fee and offer rewards, such as travel points or cash back.

Disadvantages of a credit card with balance transfer

  • The 0% APR period won’t last forever, so you could face high interest charges if you still have a balance at the end.
  • Some cards charge a balance transfer fee of 3% to 5% of the amount you transfer.
  • You may need excellent credit to qualify, and the transfer limit you get may be lower than what you owe.

Find the best balance transfer credit cards of 2022

5 questions to ask when choosing a balance transfer or personal loan

Choosing a debt consolidation strategy is not always easy. Ask yourself these five questions to help you understand which option is best for you.

1. What are the interest rates and fees?

When deciding between a personal loan and a balance transfer, consider which option would save you the most interest and fees. A balance transfer may be the cheapest option if you can pay off your balance in full before the end of the 0% APR introductory period.

Be sure to read the fine print, though, as your interest rate could skyrocket to 16% or more when the promotion ends. Also, beware of balance transfer fees, as this could factor into your savings.

Some personal lenders charge no fees for taking out a personal loan, while others charge origination fees of up to 8% of your loan amount. If you opt for a personal loan, compare the rates of several lenders to find the best offer.

2. How much and what types of debt do I have?

If you have significant debt, you may prefer a debt consolidation loan to a balance transfer. Balance transfers usually reach a certain percentage of your credit limit, while you can borrow a personal loan up to $100,000.

Additionally, you can use a personal loan to consolidate several types of debt. Balance transfers, on the other hand, are usually reserved for transferring credit card balances. If you want to consolidate a large amount of different types of debt, a personal loan might be the best solution.

3. What is the repayment schedule?

When you take out a personal loan, you usually agree to pay it back in fixed monthly payments over a number of years. Since your payments stay the same month after month, you can budget for them more easily.

With a balance transfer credit card, you can choose how much you pay each month, as long as you make the minimum payment. To fully pay off your balance before the end of the 0% APR period, you may need to use a calculator to determine your monthly payments.

Then it’s up to you to stick to that payment schedule and avoid racking up additional debt. If you start racking up new charges on your credit card, you could find yourself in worse shape than when you started.

4. How will this impact my credit?

Opening a new credit card or loan account can impact your credit in different ways. At first, your credit score might drop a few points when the creditor conducts a thorough investigation to check your credit. As long as you pay off your debts on time, your score should bounce back.

Opening a new credit card can also impact your credit utilization ratio, which is the amount of credit you use compared to the amount you have. To protect your credit score, keep your credit utilization below 30%.

Having a credit mix can also improve your score. Credit cards represent revolving debt, for example, while a personal loan is a type of installment debt. If you don’t have any installment debt, borrowing a personal loan could diversify your credit mix.

However, perhaps the biggest influence on your credit score is how you manage your balance transfer card or personal loan. Making payments on time and paying off your debt can improve your credit.

5. What are the credit requirements?

You’ll likely need a good or excellent credit score to qualify for a balance transfer credit card or personal loan. On the FICO scoring model, a good score starts at 670, a very good score starts at 740, and an exceptional score starts at 800.

Some personal lenders have looser borrowing criteria, allowing you to qualify with a fair credit score (below 670) or a creditworthy co-signer.

You may be able to prequalify online for a personal loan without impacting your credit score. Prequalifying can give you an idea of ​​your loan rates, terms and amounts, but your offer won’t be locked in until you submit a complete application and allow for a firm credit check.


A personal loan and balance transfer can help simplify debt repayment and potentially save money on interest charges. If you have high balances on multiple types of debt, a personal loan could give you the flexibility you need. But if you owe money on a credit card or two that you can pay off in 21 months or less, a balance transfer credit card might offer greater interest savings.

Whichever option you choose, make sure you have read the details of your loan or credit card agreement, including rates and terms. By sticking to your payment schedule and avoiding accumulating additional debt, you can move closer to a debt-free life.

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10 Key Things to Consider When Buying a Used Electronic Drum Kit


The request for electronic drums has never been higher – they’re convenient, quieter than an acoustic kit, often space-saving and offer loads of built-in features such as metronomescomputer connectivity and maybe even sample recording and playback.

Although new electronic drums are more affordable than ever, there are still differences in quality as you move up the price scale, and there are definitely savings to be made – especially when it comes to big brands – by buying a second-hand electronic drum. drum kit instead of new. But as with any second-hand purchase, you need to know what you’re buying and know how to avoid potential pitfalls. In this article, we’ll tell you what to look for when buying a used electronic drum set.

1. Set your budget

Let’s face it, there’s a reason you consider buying second-hand – whether it’s to protect your investment from “forecourt losses” or just to stretch your cash as much as possible. But the first rule of buying anything where there’s a huge range of price options is knowing how much you want (and can afford) to spend. We’ve all been there – you start with a price in mind, then very quickly you’re looking at things that cost 50% (or more) more. If you’re on a tight budget, you should stick to it, but it’s handy to build in some wiggle room. Be realistic and keep your list of “must have” versus “ideal scenario” features in mind before you let the cost fly away with you. Which brings us to point #2…

2. Do your homework

Before you start watching eBay (opens in a new tab), Facebook Marketplace (opens in a new tab), Reverberation (opens in a new tab) or any other ad for a used electronic drum set, it’s worth thinking about exactly what features you need. A beginner looking to start playing drums will likely have different requirements (ease of use, playing/coaching tools, wide range of sounds) than a semi-professional drummer who wants an electronic kit to trigger software, record or perform live (deeper editing, advanced trigger functions, expandable inputs, etc.), eg. Take a look at what’s out there in the brand new market to get an idea of ​​the types of features that are currently included in a new kit. From there, you can get an idea of ​​what features you might expect to see on a used kit within your budget.

3. Think about the future

This point doesn’t just apply to used gear, but is more important when you’re buying something that’s already a few years old – especially in the case of electronic kit where technology moves faster than with our bronze B20 cymbals. Try not to dismiss certain features and spec points thinking “I’m never going to use it”, because you never know. Where you are with your battery right now is hopefully not where you will be in five years, and while you may not feel like Bluetooth capabilities, connectivity USB or the ability to add extra pads are extremely important to you right now, you don’t want to be tackling the limits of your kit 12 months from now.

4. Start searching

Unless you only have one specific electronic kit in mind, start searching for more generic terms such as “electronic drums” or “electronic drum kit”. This will produce a lot of results and you will quickly see which kits come up time and time again. Just because they’re for sale doesn’t necessarily mean they’re no good and nobody wants them – indeed, the more there are, the more popular they were/are to begin with. Sites such as eBay will allow you to see the sale price (rather than the asking price) of a kit, which in turn should give you a good idea of ​​its current market value.

5. Go back in time

If you are looking for used kits, they may well be out of production and sold due to the previous owner upgrading. The advantage of the internet is that you won’t have to look far to look at kits from the last 5-10 years to find out what features and configuration they come with. Comments like ours here on MusicRadar, YouTube videos, and more can help you uncover a wealth of information about the specs, pros, and cons of kit models you’ll likely come across frequently. A big part of getting a good deal on used gear is knowing what you’re looking at and being quick. So doing your homework and setting up alerts for new listings of the models you’re interested in will likely help you get a decently priced kit.

6. Explore your options

Many electronic drum modules have at least one spare module trigger to input. It is also common for companies to share towels across their various product lines which are often separated from the kits and sold individually if they are surplus to the owner. So by knowing what pads and cymbals are and which ones aren’t compatible with the kits you’re considering, you can get a clear idea of ​​how to expand your potential set. This also means that if you see a version of the kit you are interested in, but may not be your ideal setup (say, with a rubber rather than a mesh trapor with a single crash cymbal), you have some flexibility to add extra pads immediately or later (again, there is a very healthy second-hand market for extra pads).

7. Ask questions

So far we’ve offered general buying advice that can be applied to most things. But when it comes to e-drums, there are definitely some things you need to be mindful of. The first is the state. We’re not suggesting that you should automatically be suspicious that used equipment won’t work properly, but you are buying something that has been played under conditions that you can never be 100% sure of. The time advantage means that common faults with particular equipment will have surfaced on forums and Facebook groups, so do a quick check to make sure there are no issues with your potential kit that could be expensive to solve. Check out as many photos of the actual item as possible, if you need to see more, just ask the seller. Likewise, don’t be afraid to ask questions – if the kit is truly in working order, you shouldn’t mind asking for reassurance.

8. Try before you buy

Electronic drum kits are portable, but if you’ve ever unboxed one, you’ll understand why sellers are likely to be reluctant to send a used kit in the mail, especially if the original boxes are long gone. That means you’ll probably be looking for kits that are local (or at least in a fairly easy drive) to you. This is a good thing, because it is also an opportunity to try out the kit. By this point you’ve probably spent a long time judging the sounds and features, and more towards the end of the purchase journey – assuming everything is up to scratch.

So, arm yourself with another checklist (even if it’s just a mental list) of things to test. A visual inspection of the kit will allow you to see if any fasteners are missing or spot any damage. Now, you might not be able to test every function (MIDI jacks, aux inputs, etc.), but the rack should be solid, the plug-in jacks, screen and controls should all at least appear or give the impression that they are in place. good working order.

Finally, check the pads – especially in the case of rubber drums and cymbals. Stick marks and signs of use are to be expected, and the mesh heads can be replaced. But any sign of the rubber or fabric cracking should be noted and reported to the seller, as this could lead to a replacement in the not too distant future. Try out some of the presets and make sure every zone on every pad is working properly. You might even be able to negotiate a discount!

A common factor in buying used is that people’s perceptions of the value of a kit are not all the same. While there’s a “going rate” for most things, if someone gives up playing, moving, upgrading, or any other reason to sell their kit, they’ll probably want to get rid of it and upgrade to something else. The advantage for you as a buyer here is that it often means you will see a complete setup for sale. This may include additional hardware (a stool, bass drum pedal), accessories (drum monitor speakers are common), or perhaps additional pads or cymbals.

Remember when we told you to choose your budget and stick to it? Well, if you’re lucky, you might find an offer that includes additional items that you were already thinking of adding or (budget permitting) that you could sell in order to recoup some of the overall cost. This will require a few more checks of their used value, but it’s worth bearing in mind if you see a “work package” type sale where the seller wants everything sold in one transaction.

10. Buy from a retailer

Of course, not all used equipment is sold on the private market, and not everyone is keen on dealing with individuals where there is little or no return. This does not mean that you are restricted to buying only new, as many retailers will accept used kits and components as trade-ins, and the benefit of this is that all checks should have been carried out. for you by an expert. . If you are in the United States, guitar center (opens in a new tab) is an excellent starting point.

On top of that, you’ll receive some form of warranty (usually around three months) when you buy from a retailer. The price will usually be higher than a private sale, but given that they have overhead, warranty, after-sales service and – how dare they – maybe even some profit to think about, the prices used from retailers are often very reasonable when you add the peace of mind you’ll get on top.

EDM Drilling Machine Market Growth | Cut

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Album Review – “Birds in the Ceiling” by John Moreland


In our endless, mindless pursuit of what’s bright and new – even in the most genteel field of critical writing – you can almost forget old John Moreland who, with his sixth record, is well into mid-career. But you ignore John Moreland to your own detriment. He remains a top predator in the discipline of songwriting, which has landed so much hay on listeners’ emotional receptors in the past, it has elevated the whole songwriting game for an entire generation, and that’s one of the reasons there are so many promising stunt doubles now coming up behind him.

Moreland’s sixth album Birds on the ceiling is his second collaboration with producer Matt Pence. His first in 2020 called LP5 shocked a few listeners, but still found generally favorable reception to Matt Pence’s approach of sometimes using tasteful electronic embellishments to enhance and enliven Moreland’s songs without getting in the way, while also using more organic such as guitar and keyboard when calling for. (Lily LP5 exam)

Birds on the ceiling doesn’t just dub that electronic approach, it sends it into hyperdrive to the point where it’s fair to characterize this as a full-fledged EDM record forced upon an acoustic singer-songwriter. All of the subtlety and good taste of the previous effort is superseded by overt and sometimes aggressive drum machine and synthesizer pulsations that it’s fair to characterize in singer-songwriter space as ostentatious, which gives very mixed conclusions about effort.

Of course, that’s part of the goal: to be provocative, or as some would characterize it, innovative, even though the wide proliferation of electronic sounds in popular music has been around for over 45 years. Contrary to LP5, there’s no real or real-sounding drums, or guitar aside from Moreland’s acoustic, or organic-sounding keys. It’s all EDM, all the time. While some of the wisdom (or lack thereof) of these decisions can be attributed to personal taste, the ultimate question for any singer-songwriter album is whether the production and instrumentation interfere with the songs themselves or complement them. Unfortunately in this case, it is the first.

Instead of drawing from the wide range of musical sounds indiscriminately of origin to complement the original expressions of John Moreland, the producer seeks to assert his own creativity in the 16th and 32nd notes interspersed in often syncopated rhythms or other rhythms distractions that obstruct mood and flow. of Moreland’s efforts. As soon as you start getting into the feeling of a song, it’s like hitting a power-up in a first-person shooter and going machine-gunned with rapid beats.

Are the kids in the scene going to suck nitrous oxide into balloons to this music, or get run over by John Moreland in the club? Of course not. So what are we doing here? Although it’s sold as a collaboration, it still feels like John Moreland is writing songs on his guitar, and producer Matt Pence is doing his best on it in a way that’s not even really interesting from the point of view of EDM view. The only exception is one of the album’s first tracks, “Cheap Idols Dressed in Expensive Garbage”, which inadvertently, ironically, or deliberately functions as an indictment of the superficial culture that this album’s sonic direction takes. often called upon.

Breaking boundaries is perhaps best exemplified in the album’s second song “Lion’s Den.” A few songs promise you early on that a more ambient and less intrusive approach may be adopted for them, such as “Generational Dust” and the very well-written and poignant “Dim Little Light”. But inevitably the Tommy Guns begin to sound at some point, or other curious electronic interruptions occur, while the more conventional instrumentation is almost entirely abandoned.

Yes, that’s a lot of commentary on the production of this album, but what about John Moreland’s songs? They’re certainly superior, as always, with little bits of smart, subtle social commentary intertwined with poetic observances of life and our often neurotic interface with it. The aforementioned “Dim Little Light” with its insight into impact and significance in life, the cut “Claim Your Prize” with its desperate disillusionment, and the ending title track all impact like John’s best songs. Moreland.

Moreland has always been good at delivering high-impact lines and phrases in otherwise ambiguous theme songs. This might be especially true on Birds on the ceiling. He rarely goes out and says what he wants to convey. You need to decipher the ultimate meaning – a meaning that might be different for you than for someone with a different life experience or perspective. This is why careful listening to understand John Moreland is so imperative. It’s also why the production approach of this album is so detrimental to that ability. It’s like the difference between trying to glean wisdom from a conversation versus an argument. There are simply too many disturbances preventing you from enjoying the value to be gleaned.

It’s like they got the green light from the previous recording LP5 to mix EDM and folk, but decided that in order to stay cutting edge, they had to go to extremes, and just got lost in the process, and lost sight of the possibility of making a good record and representing the songs. This is one of those albums where they should release an alternate version that only features John Moreland. Part of its appeal is the imperfection of its music and delivery. EDM is the antithesis of that, where even the decay filter is tuned to algorithmic certainty. Listening to John Moreland’s previous albums, you can also tell that his vocals have been cleaned up here, erasing the soul and beauty of imperfection from his performances.

It’s worth resisting the urge to do a full panning of this album, as it’s not the fault of John Moreland’s songs at the end. He always struggled with the production and the approach. This left him vulnerable to this outcome. And no, the concerns for electronic sounds are not just the harsh criticism of a country critic unfamiliar with such musical expressions. Again, Moreland’s latest record employed them very well. But this album was overstepping, and dramatically, in a way that Moreland may even be pleased with, but which is very hard to justify as respectful of his songs.


bright club belts from one of british dance music’s brightest new hopefuls

Adding to the weight of expectation that comes with being an emerging name in the UK electronic dance music scene, Anish Kumar is currently studying to become a veterinarian at the University of Cambridge. “Actually, it was doable,” the 22-year-old humbly says NME on the balance between music and academia. “This year has been a bit of an experiment to see how much time I can dedicate to music. But, so far, it’s working: I just found out that I passed my exams, which is great. I am ready to do it again, to be honest.

With two more years to go before she can earn her hard-earned degree in veterinary medicine, Kumar’s admirable juggling act looks set to continue. But as interest in her brilliant, vibrant, and sample-rich take on dance music continues to grow, the temptation must grow day by day to skip lectures, seminars, and internships to indulge in her musical career. nascent.

The acclaim that is sure to greet Kumar’s four-track debut project “Postcards,” due out Friday, July 29, will only heighten that desire, you can feel it. The record soars to a flyer when the inviting piano loop and stuttering drums on opener “Hummingbird” give way to a hugely satisfying break, before “Steamroller” crashes onto the dance floor with hard-hitting beats, euphoric vocal samples and the kind of career-unifying energy that Daft Punk would have approved of. Then there’s the propelling ‘Bhavachakra’, which fizzles with contrasting synths and distorted samples, and the relentless house groove of ‘Return To Sender’ rounding out the proceedings.

“It’s not meant to be a cohesive release at all. In fact, it’s the opposite: they’re postcards, in that they come from very different parts of my musical influences,” Kumar explains. It almost looks like a storefront as a first release. I don’t want people to expect only one thing from me: I don’t want to be a one-trick performer. This is my biggest battle , in fact: making things always sound like me while [remaining] eclectic.”

Kumar’s path to this point began in his hometown in northeastern Washington. Although he didn’t really commit to the local music scene there, it was at his family home that Kumar made his first forays into production attempting to recreate Eminem’s beats on GarageBand, later going on to then switch to “what I thought at the time was techno, which it probably wasn’t!” He adds, “When I grew up a bit, I switched to Logic, which I still use What I do comes from following my taste in music, which isn’t Eminem anymore, I’m sad to say!

After a slight fascination with EDM and artists like Avicii, Kumar then fell in love with Four Tet and Bicep. Lockdown further opened his eyes to a treasure trove of sample-rich genres, such as disco and northern soul. “Like a lot of people, when you discover something new, you dive into it and allow yourself to dive in and start researching,” he says. “The lockdown allowed me to do that, because there was no outside influence. It was just, ‘What do I like? What can I learn more about?’ Nordic soul was one of those genres. I wasn’t really exposed to a lot of music growing up, so there’s still a lot for me to discover – which means I can be very excited. on this subject !”

By 2021, Kumar had started buying his music to “anyone who wanted to listen to it”. BBC Radio 1 DJ Sarah Story was one such person, who shone with her breakthrough track ‘Little Miss Dynamite’ (which Kumar says is ‘absolutely’ set to return to streaming services soon) . However, on the day the song was due to air on Radio 1, Prince Phillip died – which saw the BBC cut much of its regular programming.

All was not lost, however. “That’s how I then managed to get ‘Little Miss Dynamite’ into the hands of Annie Mac’s producer,” Kumar recalled, with the track finally getting its Radio 1 moment in May 2021. Her response at that time antenna? “I felt like I was about to have a heart attack. It was a huge moment, especially since I had been listening to Annie Mac’s show for so long: me and my friend were going in the car listening to his show. I had kind of conditioned myself to think, ‘OK, this kind of thing doesn’t happen overnight.’ It didn’t, but I really got the hang of it. feeling that, at the time, overnight, I had entered the industry.

1 credit

Big tunes are certainly on the agenda when it comes to Kumar’s live DJ sets, with a spot playing at Four Tet’s Finsbury Park all day on August 13 – where he will perform on a stage organized by the Dialed In festival, which defends the creatives of the South Asian underground. Speaking of the “surreal feeling” of being on the same line-up as one of his producer heroes, Kumar said, “I think a lot about this performance and what is going to happen around it, especially considering given the Dialed In context.”

Does he hope to come across Four Tet that day? “Oh, I’d love to have a pint with Four Tet!” His music is, I would say, the gold standard in the way that we’re all trying to produce right now,” he says. “It’s important to recognize that someone who is so entrenched in their position is always trying to do new things. It tickles me to see that he performed on the BBC Glasto intro scene [under his KH alias, where he spun a Kumar track during his set]. My first reaction was, ‘Who needs introduction at Four Tet?!’ »

With the imminent delivery of ‘Postcards’, Kumar is already planning his next project. “We talked about ‘Little Miss Dynamite’, which is from an album I wrote with the firm intention that no one would hear it – there’s a wealth of unapproved samples in it!” he laughs . “So now it’s about deconstructing it and then rebuilding it three years later. It wouldn’t be fair to release old music, because it doesn’t tell the story of who I am now. I’m leaving this summer to finish a lot of things around this release, and it’s going to be just a retreat: take my studio [with me] and try to create this album.

After that, it’s time to head back to Cambridge – but what if Four Tet calls and asks to collaborate? “I mean, if Four Tet wants me to run away from Cambridge, then maybe I should,” Kumar said with a wink. “But I’ll probably be back.” Don’t worry, animal kingdom: Anish Kumar isn’t leaving you for the dancefloor yet.

Anish Kumar’s ‘Postcards’ EP to be released on July 29

Point Blank Masterclass: Thomas Irwin Talks Combining Electronic Music With Live Organic Instruments


Thomas Irwin has worked with many labels around the world including Sony, Spinnin’, Dharma, Warner and many more and has received a BBC presenting the top 10 downloads for the year 2019. In addition to dropping tracks successful, the young artist also performed at venues in London and around the world, including his debut at the prestigious Ministry of Sound and Fabric London shortly thereafter. It’s fitting that after Irwin’s debut at the Ministry of Sound, he received bookings to play at festivals across Europe.

If you enjoy programming beats, tweaking filters and generally exploring the world of electronic soundscapes, Point Blank offers courses in London and online in music production and sound engineering that are sure to up your game. you know more?

Then go to their website.

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In his first masterclass, Thomas Irwin shows how using organic sounds in electronic music can bridge genres and add depth to your mix. Whether adding sweeping orchestras or barely audible subtle layers, Thomas shows how you can use these sounds to elevate your tracks. Thomas Irwin is currently enrolled in one of Point Blank’s Music Production courses and works closely with fellow student Adrian on their Music Industry Management course.

The International Music Summit in Ibiza (IMS Ibiza) is one of the biggest events on the global dance music calendar. Located in the spiritual epicenter of clubland, inspiring personalities and artists come from all over the world to give talks and host panels on the most important events in the industry. It’s a fantastic way to keep up to date with the latest developments and ensure that whatever your involvement in music, you stay on top of what’s going on.

Umbrella Weekend Successfully Lands on SoCal with an Unforgettable Festival Experience – EDM.com


After a two-year hiatus, Umbrella Weekend has officially made a comeback, establishing itself as one of San Diego’s most exciting dance music festivals.

Hosted by the Afternoon Umbrella Friends, a group that shares the same values ​​and love for festivals and the electronic music community, Umbrella Weekend was held March 24-28 in a beautiful valley near Yucaipa, California. . The event featured three days of immaculate activities and music curation.

It is well known that Umbrella Weekend is not only synonymous with good music. Throughout the event, attendees were able to take part in a host of wellness experiences and educational activities, as well as multiple interactive art installations that were dotted around the festival site.

Umbrella Weekend’s carefully curated “Umbrellavation” lineup, which was first showcased at a January 2020 “Day of Wellness” event, nurtured the festival community through yoga workshops, breathing and sound healing.

Plus, Camp found it! featured live jam bands while Terry Jasinto and Scarlett Santamaria hosted a music industry panel with speakers Drew Dapps, Casmalia, Clam Jam’s Dani Dauntless, Deep Tech’s Mr. Wright, Dubeats and Memo Rex covering a wide range of relevant topics.

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Umbrella weekend 2022.

It was no wonder Umbrella Weekend was such a monumental success. The festival was organized in collaboration with some of San Diego’s most acclaimed collectives: Music Is 4 Lovers, Staybad, Inquiry, The Deep End, Enter The Tech, Connect SD, Clam Jam, PG Squirt House, Boogie Mob and The Dangle Zone, all of which have come together with the aim of showcasing the region’s most underrated talent and art.

This strong feeling resulted in a lineup that exceeded all expectations, featuring the likes of Desert Hearts star Lubelski, Vatos Locos resident Chklte, Sammy Legs & TCHiLT, Drew Dapps, Casmalia, Memo Rex, Britton, Dink! , Jimbo James, Laura Peck, and up-and-coming talents Adam Rose and Kieran Ishimaru of Yoon Fest taking the decks on both festival stages.

Umbrella weekend 2022.

Umbrella weekend 2022.

Performances by Afternoon residents Umbrella Friends, TrippyPants, Barrera, Kale, Castillo and more, were also included, and brand leader Sprout enchanted attendees with a mesmerizing two-piece house music set. hours.

“Lovingly hand-picked, Umbrella Weekend shines a light on the DJs who deserve it the most,” said Dapps. “Scooping up some of the most prolific aspiring talent, I was beyond thrilled to see AUF decided to showcase in our new home.”


Facebook: facebook.com/umbrellaweekend
Instagram: instagram.com/umbrellaweekend
Website: umbrellaweekend.com

Red Hot Chili Peppers Reveal Release Plans For 2022 Second Album


It wasn’t until last April that the Red Hot Chili Peppers released their twelfth studio album – Unlimited love – yet they are already preparing to release its successor, The return of the dream canteenthis October.

They made the announcement during last night’s (July 23) performance at Denver’s Empower Field (as part of their current North American and European stadium tour), specifying that it is set to drop October 14 via Warner Records.

Naturally, The return of the dream canteen will be another double album, and will even see the return of revered producer Rick Rubin.

hot red peppers, The return of the dream canteen Masterpieces

Warner Records

Warner Records

About the speed of execution, the quartet explains:

We went in search of ourselves as the band we’ve always been. Just for fun, we jammed and learned some old songs. Soon after, we started the mysterious process of creating new songs. A nice chemical interference that had befriended us hundreds of times along the way. Once we found that flow of sound and vision, we kept mining. With time transformed into an elastic waistband of oversized underwear, we had no reason to stop writing and rocking. It was like a dream. In the end, our sluggish love for each other and the magic of the music had given us more songs than we knew what to do with. Well, we got it. 2 double albums released in quick succession. The second is easily as significant as the first or should it be reversed. “Return of the Dream Canteen” is everything we are and have always dreamed of being. It’s packed.

While this announcement may seem like a complete surprise, they actually hinted at it back in February.

Specifically, frontman Anthony Kiedis remarked, “We’re going to release music in handfuls. Literally. Don’t be surprised if another wheelbarrow of songs comes your way in the near future. Additionally, guitarist John Frusciante (who returned to RHCP in 2019 after a ten-year absence) said the new tracks will have “a relaxed energy that stands out from the intensity of [Unlimited Love].”

Given their enthusiasm for the project – as well as the significant amount of positive press that Unlimited love received – it is fair to expect that The return of the dream canteen will be just as enjoyable.

In the meantime, you can still catch RHCP on their current tour. Get your tickets here.

Best Rock + Metal Albums of 2022 (So Far)

More albums are released in 2022 than there are grains of sand on the beaches of the world. Here’s the best so far!

Find out why not everyone can get enough of VCTRE

Photo credit: @_johnverwey

Talented DJ and producer VCTRE gave us a look at his backstory, upcoming chill sets, music scene experience, and more!

Alabama-based artist Aaron Poughmore commonly called VTRE, captures the ears of many with the unique style it brings to turntables. From his authentic personality to his punchy beats, it’s easy to see why so many people join the VCTRE fan club. Fans love getting lost in his guttural bass and exquisite musical taste, and with tracks like “Try to feel” and “die happy,can you blame them for being obsessed? His frequencies are truly covet-worthy, and luckily for us, his discography keeps growing with no signs of stopping.

VCTRE’s journey began with his first romantic encounter in this field of music, dubstep and artists like Coki and Skream. With a passion in his heart continuing to grow throughout high school and college, he began going to festivals, which heightened his interest in finding artists that resonated with him. All the little puzzle pieces that came together over the years ultimately created one of the most creative and talented artists in the underground music scene.

In 2022, VCTRE has already impressed with several sets, including Sonic Bloom, Electro Bigfoot, DEFand in every state with his headlining tour with summin summin. As he continues his streak of appearances this year, we had the opportunity to catch up with him and ask his brains out on everything from his roots to his upcoming chill sets. Read on for the conversation and find out what one of the fantastic artists making big waves in underground bass had to say – and don’t forget to subscribe to his Bandcamp for special tracks.

Stream VCTRE discography on Spotify:

Hi Aaron, thank you so much for chatting with me today. You’ve had quite a few shows over the past month. What’s it like to get back on the road and play festivals like Sonic Bloom, Bigfoot Electro and Kosmic Kingdom?

These three festivals were such a great time and went extremely well. I started at Bigfoot with Carl [Black Carl!]and we did our To integrate Position. We played at 2am, and it was an atmosphere. The field was foggy and it was terribly cold outside, which is abnormal for summer in Tennessee. Nevertheless, it was an amazing and well run evening for a young festival.

Cosmic [Kingdom] was a hot and sweaty day of fun. I followed the friend Not Lo, which crushed it, for a 6 p.m. time slot. I literally played on a castle with a full Hennessy rig; where else can you do this. [Laughs] myself and the His Termion The team also played a late night set at this house on the fairgrounds where we got to play some stuff that we don’t normally do.

Can you share what you think of Sonic Bloom and what your experience has been like this year?

I arrived at Bloom Saturday from New Orleans and was immediately thrilled to be there. I’ve wanted to play this festival for years, so it was super exciting when the offer came, especially to play one as myself and one as Integrate. I played late Saturday night, technically Sunday at 3:15, which was exciting because I was the only sound man on stage. It was cool to know that I would at least have a decent crowd at my set.

The set went well and the energy was great; it was one of those where everything went well. I even misread my playing time and quit 15 minutes early. The stage manager said, “Man, you have 15 minutes left,” so I frantically plugged my USB drive back in and started playing again. Looking back, it was a nice break because we got back on set like it never stopped, and people weren’t leaving and just kept going down.

Sunday, Carl and I had a 9 p.m. set right after detox unit. We arrived at the pitch around 3 p.m. and immediately a huge storm rolled in, which lasted for hours. It wasn’t just a normal thunderstorm, it was hurricane type winds. It was pretty wild and we were afraid our set would be cancelled.

After looking for shelter we finally got out and were able to play outside at 9pm. It was really fun, we were both on the same page and everything was going extremely well together. However, we both felt terrible for Detox Unit and droid because we know how much work they put into their set, and it eventually had to be canceled because the speakers on the stage were completely flooded and part of the visual wall was blown away.

Overall the festival was great. All the art installations were beautiful and the sound was on point, just what I love to see at festivals. I hope to return in the years to come.

Integrate with Sonic Bloom 2022
Photo credit: Nathan Lane Media

You’ll be playing relaxing sets in Solasta and Submersion towards the end of your tour this year. What led you to play these sets? Was there a particular inspiration?

I’ve been doing more relaxing music in the last two years than I’m a bit afraid to play during my regular sets because I think people expect to hear a specific sound from me. It shouldn’t matter, but I let it get into my head and try to fit into a particular type of set. So these labeled cooling sets are very exciting to me because people know what they’ll be getting, to some extent. They are definitely going to have some good surprises in certain types of songs that I will be playing and in the journey of the set from start to finish. I’ll keep the elaboration there so people can still have surprises!

During this run you also released a fantastic track with Frij, “Fulcrum”. Can you talk about the production process of this one? What brought you closer to Frij?

Friday is a fantastic producer that I found on SoundCloud. We started chatting there, and he pulled out a work-in-progress mix and had this little 16-bar loop that’s finally the intro to our now-completed song. I messaged him and he sent me the project file. I worked on the song for a few days, finally got the lead back for the first and second drop, then sent it to him, where he finally bridged the rest of the song. It was such an easy process. I love doing collaborative work like this where there’s no pressure, and we’re both on the same page without the finished product. I’m super happy with how it went.

Let’s get into your story a bit. Since you’re from Alabama, what’s the scene like there, and what led you to find a place in the dance music scene?

Lately, the dance music scene here has been kind of dead. We don’t really have a main promoter anymore who organizes one-off tours or electronic shows. However, it was very lively during high school and my early years in college, so I started going to see shows here. I first fell in love with dubstep in 2010 with people like Coki and Shoutwith artists like pretty lights, Paper diamond, Bauerand all this wave of electronic music from 2012 to 2015.

It was fun, but I knew I wanted more sound, and I started going to festivals in the southeast, like Counterpoint, where I saw people for the first time like Tipper, Zed is dead, and other artists who have made a name for themselves. Since then it’s been a fun journey exploring and finding new artists that I love.

Photo credit: Nathan Lane Media

You briefly mentioned cerebral palsy on Mr. Bill’s podcast a few years ago. To dig deeper, what difficulties have you overcome while producing and performing? Do you have any advice for anyone looking to pursue a music career with Cerebral Palsy?

I don’t really find it difficult to produce. I’m sometimes limited on decks trying certain transitions, but I always find a way that mixes well despite only being able to use one hand. I don’t think about it too much; however, if I let it be something that stops me or lets it make decisions for me, that’s when it becomes a problem. But it all depends on my state of mind, so if someone else has it, don’t let it paralyze you before I even start. People don’t care that much, even though it might seem like it through your eyes. And if they do, fuck them! I sometimes meet arrogant people but I don’t tell them the time of day.

To finish, just for fun, there is a lot of controversy over which is the best fast food burger chain. Answer this if you dare; What’s your favorite channel to eat and what’s your favorite order?

It’s a tough question, but I think my answer is Zaxby’s. It’s also a Southeast-only chain, so I feel bad for anyone who hasn’t tasted their delicious chicken. I think my go-to is either the Kickin’ Chicken sandwich combo or the wings and traditional tongue torch things with a Cherry Coke and two extra ranch sauces.

Follow VCTRE on social media:

Facebook | Twitter | Instagram | SoundCloud

Zomboy Releases Powerful EP, “Dead Man Walking Pt. 1” – EDM.com


After launching his new label Rott N’ Roll Records a few months ago, Zomboy returns with his first EP on the imprint, Dead Man Walking Pt. 1.

Dead Man Walking Pt. 1 is exactly what longtime Zomboy listeners have come to expect since he released his latest EP, Rott N’ Roll Pt. 2in 2019. Demonstrating a refinement of Zomboy’s sound, the record is packed with enthralling dubstep tracks perfectly crafted to demolish any main stage he might play.

Fans have already heard Zomboy venture into new sonic realms on “Desperado” and return to his dubstep roots with “Flatlined” alongside Micah Martin. The titular track, “Dead Man Walking,” also ventures into familiar territory, opening with a cinematic western intro before morphing into a metal-influenced dubstep banger.

The final song on the EP is a collaboration with bassist virtuoso MUST DIE! called “The Last One Standing”. The track features a catchy vocal sample alongside old-school rave synths and distorted growls, infusing their signature sounds perfectly. It’s a brilliant collaboration between two of electronic music‘s most revered sound designers.

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Dead Man Walking Pt. 1 is a formative piece for Zomboy’s new label, setting the tone for the English producer’s future releases as well as his contemporaries. Listen below and find the EP on streaming platforms here.


Facebook: facebook.com/ZomboOfficial
Twitter: twitter.com/Zombo
Instagram: instagram.com/zomboy
Spotify: spoti.fi/3jLhrUV

Nancy Ajram’s “Sah Sah” is the first Arabic track to appear on Billboard’s Dance/Electronic chart


How Egyptian superstar Mohamed Emam still lives under the shadow of his famous father

DUBAI: Twenty years ago, Mohamed Emam went to see his father to tell him something he had held in his heart for a long time: He too wanted to become an actor. His father, Adel, arguably the most popular actor in the Arab world, replied bluntly: “Son, you are making a mistake.”

” He told me not to do it ! As we sat there, he told me it was very, very difficult. In some ways, it’s the hardest job I could have chosen. He told me to choose something else,” Emam told Arab News. “But what could I do? It was my passion. I said, ‘I love it.’ And I went against his will. I had to follow my heart.

Egyptian director Marwan Hamed (right, wearing glasses) and the cast of ‘The Yacoubian Building’, Hend Sabry (left), Adel Emam (second from left) and Mohamed Emam (second from right) at Cannes in 2006. (Provided)

Emam does not regret this decision anymore. How could he? The Egyptian actor has become, over the past two decades, one of the region’s biggest talents, with nearly 12 million followers on Instagram and headlining both action blockbusters and Ramadan comedies, some opposite his beloved father.

He speaks to Arab News on the day his latest film, ‘3amohom’ (Their Uncle), is slated for its star-studded premiere in Dubai. The city is already festooned with posters of him, a version of himself he sculpted intensively over a year to become a bona fide action star.

The action-comedy, in which he plays a boxer who discovers a printing press for counterfeit money, has already had a huge opening in Egypt and is set to become the actor’s biggest opening in the Gulf, as he plans to turn his attention next to Saudi Arabia, with red carpets in Jeddah and Riyadh awaiting his arrival.

“I am completely honest when I tell you that this is the greatest pride I have been in in my career so far,” says Emam. “The fact that I’m touring the Arab world to open this movie is something I’ve always hoped I’d get the chance to do one day.”

Saudi Arabia is now at the center of the concerns of Emam and the entire Egyptian film industry, as the emergence of the Kingdom as a cinema market has transformed not only the marketing of their films, but their entire conception.

“We don’t just think about how things will go in Egypt anymore. From our first meetings, we think about how our stories will resonate in Saudi Arabia, and in the great Gulf. It was amazing, honestly. It encourages us to work harder in all aspects of filmmaking and pushes us to make even more films,” says Emam.

It’s a huge summer for Egyptian cinema. “3amohom” opens opposite another blockbuster, the historical epic “Kira & El Gin,” which aims to break the records set by its director’s previous film, “The Blue Elephant 2.” It is directed by someone Emam knows well, Marwan Hamed.

“I wish good luck to my old friend. Both of our films are filling theaters, and rightly so,” says Emam.

In a way, Emam owes the trajectory of his career to Hamed. The director cast her in the lead role in the hit 2006 film “The Yacoubian Building”, opposite a true megastar – her father Adel – despite the fact that Emam had only minor TV credits to his name at that time. that time.

Mohamed Emam with Hend Sabry in ‘L’Immeuble Yacoubian’. (Provided)

“After making this film, I spoke to my father again. He told me that he loved my performance. Since then, he has told me that he loves all my films. He always tells me how much he is proud even now,” says Emam.

That’s not to say Emam’s rise to fame has been easy. In some ways, Emam still lives in his father’s shadow, knowing that while he had privileges as Adel’s son, he also had to work really hard to prove he deserved the limelight.

“It’s very difficult to become an actor when your father is the greatest actor in the world. It was a big, big struggle at the beginning. Little by little, people understood that I love cinema, that I don’t do not that just because my dad is a great actor,” Emam says. “To this day, I always try to do my best and please people.”

Adel Emam (center) with his children, actor Mohammed Emam (right) and director Rami Emam (left) in Alexandria August 30, 2008. (Supplied)

Unsurprisingly, Emam’s love of film began on the set of his father’s films, watching not just his father, but the dozens of people around him all focusing on different tasks to make the film a success.

“I was amazed by what I saw. I wanted to join them immediately. I immediately knew in my heart – from the age of four – that I wanted to be an actor,” says Emam.

Like his legendary father, Emam excelled in comedic acting – something he doesn’t take for granted.

“Comedy is more difficult than anything else, to be honest. It’s very difficult to make Egyptian people laugh. It’s very difficult to get them to accept. I thank God that after doing a lot of comedy, people like me in this role,” says Emam.

For “3amohom,” however, Emam didn’t want to rely on his mind alone. He had always wanted to play a boxer and although the film only featured a few boxing scenes, Emam trained as if he was slated for a first fight.

“I trained very intensively for eight months. It was one of the hardest things I’ve ever done to myself. And because we filmed on and off for a year and a half, I had to keep myself in that peak condition the whole time. Not to mention keeping my bleached blonde hair — which I’m not sure my head has forgiven me for,” Emam says.

“The training came in handy outside of the boxing ring, of course. It was a very tough shoot. In one scene, I had to fight 20 different guys. I had never pushed myself to that degree.

Although he plans to do more action movies, and action comedies in particular, as he thinks he thrives in fight sequences, there is still one role Emam dreams of playing more than quite different – to play the role of his father in an Adel Emam biopic.

“I think I could do it. I really intend to try,” says Emam. “There is another side of him that people don’t see: the father. The man I know best. Really, I love him so much. I really admire him. It’s my idol. I wish I could tell this story myself.

Billie Eilish Contemplates Distraction and 10 More New Songs


“TV” – from a pair of modestly strummed but lavishly produced “guitar songs” just released by Billie Eilish – begins as one of her hushed, breathless ballads about estrangement, self-doubt and desire for numbness, this time using television; she considers putting on “‘Survivor’ just to watch someone suffer.” But she’s onto something bigger – how entertainment feeds distraction, alienation and apathy – and it’s becoming ostensibly topical in 2022: “The internet has gone crazy watching movie stars on trial / While they flip Roe v. Wade,” she sings. But Eilish hasn’t forgotten that she’s an artist herself; as she reflects on her isolation in a closing chorus – “Maybe I’m the problem” – she composes into an arena audience, singing and clapping. JON PARELES

Jessie Ware seeks tried-and-true disco tools in “Free Yourself,” encouraged by stalwart producer Stuart Price (Madonna, Pet Shop Boys, Dua Lipa). There’s a bouncy octave piano riff, a solid rhythm and finally the sounds of a floating, floating string section, as Ware promises freedom will do good: “Keep climbing that mountain,” urges she. “Why aren’t you having fun?” Breakdowns and buildups come together with a sense of shimmering inevitability, strutting to a grand finish that surprisingly never happens: “Don’t stop!” Talk

A Flo Milli song is like a Blingee filter: strong, flashy and resolutely feminine. This week, the Alabama rapper released her major label debut, “You Still Here, Ho?”, a kind of witty sequel to her irresistible 2020 mixtape “Ho, Why Is You Here?” After an introductory invocation of the muse, who in this case is reality TV legend Tiffany “New York” Pollard, the album is a showcase for Flo Milli’s swaggering humor and the chattering ease of her signature flow. Plenty of other rappers would slow their pace when given such a dreamy beat like “Hottie,” but Milli is more relentless than ever, oddly flirtatious while taking a breather to set some boundaries (“I don’t answer if I’m grumpy”) Here, as on other highlights on the record, she spits like a cartoon character happily sliding down a rainbow. LINDSAY ZOLADZ

Three notable South African producers – Tyler ICU, Kabza De Small and DJ Maphorisa – worked on “Inhliziyo” (“Heart”), a spacious amapiano track built from shakers, sustained keyboard chords, low tapping percussion and dark, almost subterranean basslines. What makes it even more haunting than most amapiano songs is the voice of its songwriter, Nkosazana Daughter: quiet and almost private, hinting at non-Western inflections and imbued with the inconsolable sorrow of its Zulu lyrics. . Talk

The Sun Ra Arkestra evokes a loose community, the feeling of non-conformists coming together for a common purpose. When the Arkestra recorded “Somebody Else’s Idea” during Sun Ra’s lifetime, June Tyson sang lyrics like “Somebody else’s idea of ​​Things to come/Need not be the only way”. The current Arkestra, led by saxophonist Marshall Allen, reappropriates the song without words, like a quiet bolero with saxophones or voices without words carrying the succinct melody on Afro-Caribbean percussions. They are sometimes joined by Farid Barron’s dissonant flowery piano, brass interjections, flute trills and undulating strings, each adding its own contribution until, like a caravan at sunset, the melody settles in a place of rest. Talk

‘You’, taken from Canadian singer-songwriter Julianna Riolino’s forthcoming debut album, ‘All Blue’, is a bubbly and deliriously catchy explosion of power-pop. Riolino’s impassioned delivery and cranking energy will appeal to fans of Angel Olsen’s more upbeat “My Woman” songs, but Riolino also mixes the sounds of vintage country and jangly garage rock in a way that makes it unique. is clean. “Everyone is fine until they drown in someone,” Riolino sings in this ode to devotion, with the intensity of someone clinging to life. ZOLADZ

Austin-formed and now Atlanta-based indie-rock band Mamalarky celebrate a deep and joyful friendship in “Mythical Bonds,” the lead single from their September-released album, “Pocket Fantasy.” With a teasing smile in her voice, guitarist Livvy Benneett sings, “I don’t care what I do as long as I do it with you. Complications – and there are plenty of them – are in the music: stop-start meter changes, peculiar chords, gnarly counterpoint, all wrapped up in two playful minutes. Mamalarky makes math-rock fun. Talk

“Mom, I’m next to a lot of love,” sings Los Angeles singer-songwriter Sabrina Teitelbaum, in one of many much-quoted lines from her second single as Blondshell. (Also: “I think my kink is when you tell me you think I’m pretty.”) Over the first half of “Kiss City,” Teitelbaum delivers these lines in an arc, a croon some little self-mockery, accompanied by a discreet arrangement of piano and guitar. But halfway through, “Kiss City” tears apart and becomes a towering rock song, giving Teitelbaum the space to shout those same lines wholeheartedly, as if suddenly in a dream, confessing the kind of things she had being terrified to admit in waking life. ZOLADZ

Sometimes, surprisingly, romances actually work. With a pedal steel guitar sighing affirmations behind her, simple-voiced country singer Kelsey Waldon unrolls images and similes — “like a monarch to a mimosa,” “simple as a cotton dress,” “patient as the moon” – to marvel at reliable, nurturing love: no drama, just comfort and gratitude. Talk

Recorded in Montell Fish’s bedroom in Brooklyn, “Darling” – from his new album, “Jamie” – is a love song imbued with fragility, delivered like a serenely undulating waltz. “Have you fallen in love, darling? he wonders in an otherworldly falsetto, over pickings of acoustic guitar and creaking of low-fi strings. A large chamber-grunge chorus surges as he begs, “Please don’t run away,” but the beat drops and ghostly piano chords are his only accompaniment as he resigns himself, “I finally let you go,” he said. decided. Talk

TJ Hertz, the electronic musician who records as Objekt, uses the proudly unnatural tones of techno to generate ever-increasing tension in “Bad Apples.” It undermines the methodical predictability of most dance music. Even if the rhythm remains square and dancing, the sounds and the silences continue to arrive, to accumulate, to suddenly disappear or to fracture. Buzzing, chiming, throbbing nasal tones, crossed rhythms of deep bass, slips and crackles, blips that turn into swarms: in the next two bars, anything can appear, from any direction. Talk

This Week in the Metaverse: Crypto Lehman Brothers Moment and Tesla Drops Bitcoin Holdings

Things are moving fast in the metaverse and the wider world of Web3 as a whole. Depending on who you ask, this futuristic blockchain-based space is either the next big thing for marketing — and pretty much everything else — or an overhyped fad. Here’s what you need to know from the past week:

Leading crypto lending firm Celsius Network filed for Chapter 11 bankruptcy last week. Some analysts are calling the incident the “Lehman Brothers moment” of crypto, drawing a comparison between the collapse of the crypto lender and the collapse of the major bank leading to the 2008 financial crisis.

In its bankruptcy filing, Celsius Network blamed its financial downfall on the ongoing “crypto winter” and “negative media and social media comments about Celsius, a number of which were unsubstantiated and misleading”. The company’s problems, according to the filing, have also been compounded by global economic pressure caused by the Covid-19 pandemic and the war in Ukraine.

Tesla Inc recently converted most of its bitcoin holdings to cash / Adobe Stock

The company owes its users — currently numbering about 1.7 million — about $4.7 billion, according to the filing.

Tesla sells majority of its Bitcoin, citing Covid-19 lockdowns in China


Tesla Inc disclosed this week in a second-quarter earnings letter that it had converted about 75% of its bitcoin holdings into fiat currency, which in turn added about $936 million in cash to the company’s balance sheet. society. On an earnings call, Tesla Chief Executive Elon Musk said the company decided to sell off the majority of its Bitcoin in response to “the uncertainty of Covid lockdowns in China.” Since this week, several cities have been locked down and millions of people have been quarantined in China due to an increase in Omicron subvariants.

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Tesla’s relationship with Bitcoin has oscillated between hot and cold: Tesla bought around $1.5 billion worth of Bitcoin in early 2021, sending the cryptocurrency’s value skyrocketing. For a time, the company allowed customers to make purchases using Bitcoin, but this policy was soon abandoned; in a May 2021 Tweet, Musk said the company would no longer allow payments using Bitcoin due to “concerns about the increasing use of fossil fuels for Bitcoin mining and transactions, particularly coal.” Musk also said on the recent earnings call that Tesla is “certainly open to increasing [its] Holdings of bitcoins in the future.

So should this be taken as a verdict on Bitcoin? After hitting an all-time high valuation of nearly $69,000 in November, Bitcoin has been plummeting since May in what many are calling a new “crypto winter.” Bitcoin is valued at the time of writing at around $22,500.

Christie’s launches a web3 investment company


The auction house Christie’s announced on Monday the launch of “Christie’s Ventures”, an investment fund specifically dedicated to web3. The fund — designed to “provide financial resources and expert support to emerging technologies and fintech companies creating solutions relevant to the art market,” according to a press release — debuted with an investment in LayerZero Labs, a company developing a protocol for omnichain interoperability.

Christie’s, founded in 1766, has made a name for itself in the Web3 space as a prominent NFT auction house; it made headlines last year with the historic sale of Beeple’s “Everydays: the First 5,000 Days” token for over $69 million.

Second Life Teams Up With DJ Superstar Eli Brown For ‘All New Metaverse Music Video’

Electronic music artist Eli Brown has teamed up with Second Life – an online platform that allows users to interact with each other as virtual avatars – to produce “Club Arcane”, an experience interactive that “literally puts listeners into a whole new metaverse music video“. according to a blog post on the company’s website. The description of the new virtual experience makes it sound like a cyberpunk haunted house layered with house music: visitors can expect “eerie melodies”, “eerie visuals”, “eerie alleyways”, “and a neon-lit nightclub brimming with hidden surprises at every turn.”

Nike and RTFXT launch an AR-enabled hoodie


Shortly after Nike acquired virtual apparel design studio RTFKT (pronounced “artifact”) in December 2021, the two companies dropped CryptoKicks – a “repeatable” fusion of a sneaker and an NFT. Now, Nike and RTFKT – a power couple on the rising virtual fashion scene – have launched a physical hoodie with augmented reality (AR) capabilities.

The RTFKT x Nike AR Genesis Hoodie, as it’s known, will come with an embedded Near Field Communication (NFC) chip, allowing its wearer to link it to an AR program – accessible via a QR code emblazoned with the front of the hoodie. The program allows the wearer to add a number of bling-out virtual accessories to the hoodie (wings, for example).

It will only be available to CryptoKicks owners and CloneX avatar collection owners.

The Metaverse is on the cover of Time magazine


For decades, Time magazine has been something of a beacon of American culture; its cover usually depicts some of the most influential people and ideas of the time. So it’s significant that the magazine dedicated its August 2022 issue to the metaverse.

The cover art, designed by digital artist and former Major League Baseball shortstop Micah Johnson, features a rendering of a young man wearing an astronaut helmet and walking through some sort of portal, separating his bedroom from a sci-fi kingdom filled with flying cars and a futuristic cityscape. The title? “Into the Metaverse: The Next Digital Age Will Change Everything.”

Usain Bolt enters web3


Step App – a fitness finance platform (fitfi) that allows users to earn cryptocurrency through physical activity – announced a new partnership with eight-time Olympic gold medalist Usain Bolt on Thursday. “With Step App, the blockchain economy expands beyond finance by incorporating elements of lifestyle, fitness, and gaming into the space,” the company announced in a press release. “The platform transforms everyday exercise activities like walking the dog or daily jogging in the park into social activities or competitions with friends and strangers that encourage consumers to earn money by working out. towards economic freedom.

In addition to attracting new users, the new partnership with Bolt – who has been named Step App’s “lead ambassador” – is partly intended to attract the attention of potential brand partners (including government organizations) “who share Step App’s vision for a healthier world through web3 The company today launched its private beta testing for its gamified and mobile web3 platform.

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Debt consolidation does not solve the real problem

Is debt consolidation a good way to get out of debt? — Erikah

A: No, it is not. Debt consolidation companies try to position themselves this way, but they don’t even come close to addressing or solving the real problem.

Here is the big reason why debt consolidation is not a good idea. It makes you feel like you’ve really done something to change your entire financial outlook when you haven’t. When you move things around or suddenly have a lower payment each month, you end up thinking you’re making real progress. The point is, you haven’t done anything to fix the real problem – which is you.

I meet people and talk to people all the time on my radio show who don’t quite understand that. They will tell me that they have paid off all their debts by using a debt consolidation company or by taking out a second mortgage on their house. Well, the truth is that they are not debt free. They have done nothing but pay off the same old debt.

Personal finance is 80% behavioral, Erikah. When it comes to getting out of debt, staying out of debt, and getting your finances in order, you have to change your habits and behaviors with money. Interest rates aren’t the issue, and the number of payments you face isn’t the issue. The problem is the person you see in the mirror every morning.

Until you change that person, start living with a strict, written monthly budget, and decide to eliminate debt from your life once and for all, you’ll never make any real progress in taking control. of your money!

More from Dave Ramsey:Pay off your debts first, then think about having fun. It’s the only way!

Dave Ramsey is an eight-time national #1 bestselling author, personal finance expert and host of The Ramsey Show, heard by more than 18 million listeners each week. He has appeared on Good Morning America, CBS This Morning, Today Show, Fox News, CNN, Fox Business and many more. Since 1992, Dave has been helping people regain control of their money, build wealth and improve their lives. He is also CEO of Ramsey Solutions.

Major Players Analysis of Consumer and Business Debt Consolidation Market 2022

According to a new report, the world “Consumer and Business Debt Consolidation Market” 2028 provides a comprehensive assessment of the market landscape, encompassing both current and future market position. In terms of drivers, opportunities, and restraints, the analysis provides insights into developing trends and market dynamics. The analysis houses a light weight on the analysis of past growth trends. It includes a market summary, identification of key players, key developments, material suppliers, and dealers, among other things. Market size, sales, forecast, share, business demand, growth rate and revenue are also included.

The Consumer and corporate debt consolidation market positioning is playing an unbroken boom and achieving a CAGR of 4% for the forecast period 2022-2028.

For a sample copy of the report, click here:


Consumer and Business Debt Consolidation also includes the research and development activities of these companies and provided comprehensive knowledge of their existing products and services. An elaborate analysis of the revenue generation scope and chances, manufacturer profile, production details and consumption patterns is given. A thorough assessment of these factors is crucial for various market players to understand the potential for investments in specific regional areas.

The report also includes key players in recent market trends:

Goldman Sachs, OneMain Financial, Discover Personal Loans, Lending Club, Repayment, Freedom Debt Relief, National Debt Relief, Rescue One Financial, ClearOne Advantage, New Era Debt Solutions, Pacific Debt, Debt Relief Accredited, CuraDebt Systems, Guardian Debt Relief, Debt Negotiation Services, Premier Debt Help, Oak View Law Group

Segmentation of the personal and commercial debt consolidation market

Consumer and Business Debt Consolidation market is split by Type and by Application. For the period 2022-2028, the growth between segments provides accurate calculations and forecasts of sales by type and by application in terms of volume and value. This analysis can help you grow your business by targeting qualified niche markets.

Market segmentation by types:

Credit card debt

Student loan debt

medical bill

Apartment leases


Market segmentation by application:





Regional analysis:

– European market (Germany, United Kingdom, France, Russia, Italy)

– Central East and Africa market (Saudi Arabia, United Arab Emirates, Egypt, Nigeria, South Africa)

– South America market (Brazil, Argentina, Colombia)

– North American market (United States, Canada, Mexico)

– Asia-Pacific market (China, Japan, Korea, India, Southeast Asia)

Answers to key questions in the report:
– What is the growth potential of the global Consumer and Corporate Debt Consolidation market?

– Which regional market will impose itself as a precursor in the years to come?

– Which application segment will grow at a rapid rate?

– What are the growth opportunities that may emerge in the global Consumer and Business Debt Consolidation industry in the coming years?

– What are the main challenges the market might face in the future?

– Who are the leading companies in the Global Consumer and Business Debt Consolidation Market?

– What are the key trends positively impacting market growth?

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Contents Consumer and Business Debt Consolidation Market:

Chapter 1: Consumer and Business Debt Consolidation Market Overview

Chapter 2: Global Market Status and Forecast by Regions

Chapter 3: Global Market Status and Forecast by Types

Chapter 4: Global Market Status and Forecast by Downstream Industry

Chapter 5: Market Driving Factors Analysis

Chapter 6: Market Competition Status by Major Manufacturers

Chapter 7: Major Manufacturer Introduction and Market Data

Chapter 8: Upstream and Downstream Market Analysis

Chapter 9: Cost and Gross Margin Analysis

Chapter 10: Marketing State Analysis

Chapter 11: Conclusion of the Market Report

Chapter 12: Research Methodology and Reference.

The report offers important features on core members that have been in the business for a while, while providing insight into their production design, product portfolio, and other data. The study document contains an assessment of various drivers, upcoming technologies, opportunities, market risks, restraints, market barriers, challenges, trends, competitive landscape, and segments which paints an accurate picture of the growth of the Global Consolidation Market consumer and business debt.

Personalization available –

  • Free report customization (equivalent to up to 4 analyst business days) with purchase of Consumer and Business Debt Consolidation report. Added or changed country, region and segment scope.
  • If you have any questions or customization requirements, please contact our sales team, who will ensure your requirements are met.

Contact us:

Irfan Tamboli (Sales Manager) – Market Intelligence Data

Phone: +1 (704) 266-3234

Mail to: |[email protected]

The dance music legend on his career


Crystal clear waters is a house music legend. As the voice behind the iconic hits “Gypsy Woman (She’s Homeless)” and “100% Pure Love,” if you spent any time on a dance floor in the ’90s, chances are you’ve heard her voice. Crystal stays at work, with a bunch of projects going on. There is the label (I am House Records), a podcast (Crystal Waters I Am House Radio), and music (his most recent single is “love each otherin collaboration with Soul Central). Last year, Helena Star called Crystal to find out a bit more about her history in the world of electronic music.

In the 90s, house music was mostly in the queer, black, and Latina communities. Is that where you got into house music? Or was it listening to the radio?

It was underground, but you have to remember, we didn’t really know that. We were just doing it. It wasn’t really a genre yet. I heard it on the radio late at night, after midnight, but it wasn’t until I arrived in New York in 1991 that I was truly immersed in the community. They were clubs, there were no bars and there were no VIPs. It was just baby powder on the floor and people came dancing.

Baby powder on the floor?

So you could spin.

I never heard that.

Yeah, baby powder. Everyone had baby powder and a handkerchief in their pocket. The handkerchief was for sweat and baby powder so you could spin, go on your back, over your head, whatever you wanted to do. It was very cool. They also had houses, which were built because a lot of children were being kicked out of their homes because they were gay, so they formed their own families. I love to see that it’s recognized now. They got house TV shows now. These houses were very important to many people.

When you started music, was it by accident? I read that you grew up in a family of musicians, but did you know that you were going to work in music?

I did not know. My dad was a musician all his life. My brother too, and my aunt was very famous. No, I’ll just tell you the story. I liked music. I loved to write poetry. Then I was working in a government job, and when you get there, they give you this paper that tells you how much you’re going to earn each year. If I had been there for 12 or 15 years, I still wouldn’t have made any money.

I was like, “Oh, this is depressing.” Then my mother said, “Well, go see this medium.” So I went there, and she said, “You don’t do anything with your voice. You gotta do something,” and I was like, “Yeah, okay, whatever. I got back to work and a friend of mine said, “Well, I have a cousin who has a studio. They are looking for background singers. He said, “I’ll go if you go. So we went.

Once I walked into a studio, I was like, okay…this is where I belong. It is the house. It was a light bulb moment. Then I realized, you know what? I have to do this for me. I said one thing I knew I was good at was writing. So I was like, I can write my own stuff! I don’t need to sit here and be in the background.

It seems so strange now, and it’s dangerous, but I put an ad in what was called the City Paper. There was a music section for artists and songwriters. This guy answered, and it went from there with this keyboard player.


This guy named Burt Collins. We formed a group called Modern Art. That was until I met the Basement Boys, because I was doing more of a Sade thing. I wanted to be Sade. Even in the first video I had the ponytail and all.

You know what? I just watched the video! It’s good. The power costume too, with the ponytail and the red lips… big atmosphere.

Then I met the Basement Boys, because I have more of a jazz voice than a gospel voice. They wanted me to write at these dance speeds. I said, “As long as I can keep my style,” they said, “We want that style over that.” Once I walked in…that was it. I was hooked.

Is there a record for you that is important in your journey in the world of house music? Is there a song for you that, maybe from when you were younger, that you listened to and said, “Wow, I really feel like I could get into it.

Well, for home, because it really started in 85. I came in 1991, so it wasn’t much. It was disco with house. I remember the first thing I heard on the radio was “Lonely People” by Lil Louis. I thought that was so cool. It was so cold. Then, of course, C&C Music Factory. We all loved it.

You also have your radio podcast. Is it so you can keep sharing the music you love and all those underground sounds?

Yes, because there is a lot of new good music. I like singing and a lot of DJs only play beats. You don’t have a lot of voice. I wanted to listen to a podcast where I could hear songs, something where you can sit and listen to music.

I knew there were a lot of good things there. That’s why I started the podcast, especially to help females. Because we get lost. The DJ has the big name and [sometimes] you don’t even know who the girl is. DJs get all the shows. I also wanted to help in this way, to help certain female artists to be known.

Absolutely. There have been a lot of conversations recently that I’ve also been part of regarding the erasure of black women in dance music and their voices. As you said: it’s the DJ or the main producer who will get their props, but the women who sang on them and the vocals on them…

And wrote them too!

And wrote them too, exactly. They won’t have the same kind of accessories. I guess we have moved in the right direction, but we still see these issues. What was it like for you in the 90s to work your way through the scene as a black woman?

Well, just two things; one thing, obviously at the time, it was more important to be a producer and not to be the star. I wouldn’t be Quincy Jones. I was lucky that my name came out that way because I think if it happened now it would be the Basement Boys and Crystal Waters. I was lucky. I think it’s probably still the same.

It’s a very male-dominated music industry. How can I explain it? You get explained, you get a lot of “She doesn’t really know what she’s talking about.” You have to stand up a little harder with this. When I was younger it was more about gender. I had to go to the studio with a straight face. I was not playing. I would say “I didn’t come here to play with you and then make the record.”

You’re here to work, and you were kind enough to show it.

Yeah, because otherwise they’ll just try to, I’m about to swear, they’ll just try to fuck you, basically. I was a little too serious, I think, for some people. It was just a form of protection.

I see it still happening. There are lots of female DJs, but most of the time you only see male DJs. I think it happens in many areas, not just in music. I don’t just want to pin it to the music.

You had such an impact on dance music and music history. How important is it that we respect and honor these women who shaped the scene? How can we do more?

I think it’s very important. I heard some people in Europe think that house music came from David Guetta.

Yeah. It’s frightening.

It’s frightening. I think it’s important to know the story. I always tell people who ask me for advice that you have to study your trade. You must know. I can tell producers who are just DJs who don’t really know how to produce a voice or structure a song. I think it’s very important to study the history and the voices and the women who wrote a lot of this stuff.

I think if they studied some of the stuff from the early days, there would be a lot in there. Some of the drum loops and stuff that people still use…it was used a little more creatively back then. I think it is very important to study history.

Study history and celebrate that history.

Yeah, know what you’re doing and why you’re doing it, not because you want to be on stage. You will be a flash in the pan. You know what I mean?

What is your process when writing a song?

I hear the song. I like music to inspire me. I’ll get the track and then I’ll find the melody first. Usually, when I get the melodies, I also hear a little word, and that will let me know what the song is about. I find that if I try too hard, try, it doesn’t work. I just sat down and let it flow. Sometimes the words come out a little weird, but I’ll wait until the song is over and come back to it. I call it painting.

For all things Crystal, visit her Instagram here.

Swedish House Mafia Announces First-Ever North American DJ Residency at Wynn Las Vegas – EDM.com


Despite their storied career, it was a year of firsts for Swedish House Mafia, whose superb debut album continues to provide the soundtrack to the biggest comeback in electronic music history.

“There’s always new ground to explore,” Steve Angello of Swedish House Mafia said when the album was released.

The legendary electronic music trio just announced their first-ever North American DJ residency at Wynn Las Vegas. Confirmed sources EDM.com that Swedish House Mafia signed a two-year contract to perform at the resort’s signature nightlife venues, Encore Beach Club and XS Nightclub.

“We love going from arenas to clubs, from massive epic raves to intimate club shows, and then back into the arena,” Angello said in a statement. “That balance is really important to us and our fans. We’re happy to bring that balance to Vegas with Wynn.”

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The teams behind Encore and XS are giving clubs a makeover to respond to the moment. According to a press release, the organizers of the two sites intend to improve their audiovisual production “to offer guests an immersive and captivating experience” by means of organized LED screens, pyrotechnics, cryogenics and scenography. personalized, among other experiential activations.

The Swedish House Mafia perform at Coachella 2022.

“This residence is something special and a testament to Wynn Nightlife’s commitment to providing best-in-class entertainment,” added Ryan Jones, Assistant Vice President of Wynn Nightlife. “We are thrilled to partner with Swedish House Mafia and give their fans the opportunity to see them perform in a more intimate nightclub setting.”

Having long operated at the forefront of the electronic dance music scene, the supergroup are in the midst of a prolific year that has seen them play a headlining gig at Coachella and a breakthrough DJ set in time. real hosted on Spotify. They also contributed to the production of two songs from The Weeknd’s chart-topping 5th studio album, Dawn FM.

You can find tickets and a full schedule for the Swedish House Mafia residency at Wynn Las Vegas here. It will launch on August 20, 2022, and dates for 2023 have yet to be revealed.

Japanese Breakfast shares Korean version of “Be Sweet”

Japanese breakfast

Japanese breakfast
Photo: Astrida Valigorsky (Getty Images)

Michelle Zauner, the artist behind Japanese breakfastshared a Korean version of his song “Be Sweet”, the first single from his 2021 album Jubilee.

For the updated edit of the track, Zauner enlisted up-and-coming Korean indie artist So! Yoon!, a member of Seo So Neon. Electronic maestro Yaeji also contributed to the song, helping Zauner translate the lyrics of “Be Sweet” from English to Korean.

Japanese Breakfast – Be Sweet feat. So ! YoON! (Korean version)

“We thought it would be fun to release a special Korean version of ‘Be nice’ leading up to our next performance in Seoul,” Zauner shared with Fork in a report. I am very grateful that Yaeji helped me with the translation over a year ago. So ! Yoon! is one of my favorite independent artists in Seoul right now and I’m so happy that we were able to collaborate.

Zauner will perform in South Korea on August 6 at the Incheon Pentaport Rock Festival. A July 31 show at the Fuji Rock Festival in Niigata, Japan is Japanese Breakfast’s only other upcoming date in Asia.

In the video for the Korean version of “Be Sweet”, animated versions of So! Yoon and Zauner (whose avatar is accurate down to his tattooed sleeve on his arm) wander through a hazy purple-hued landscape. Zauner drives, hair blowing in victory, while So! Yoon relaxes in the passenger seat, shaking his head to the infectious, bubbly beat of the song.

Using futuristic and moving imagery seems like new but natural territory for Zauner, whose recent work shows a clear interest in using different mediums to express himself. The musician provided the soundtrack for the indie exploration game Sableand also received critical acclaim for her early memoir Crying in H Martwhich explores Zauner’s food-centric quest to construct his own identity (and recognize himself in his Korean heritage) after the loss of his mother.

Read our 2021 interview with Japanese Breakfast here.

ZoukOut set to return in December after a three-year hiatus


Zouk has announced the dates for the return of this year’s ZoukOut festival.

According to the event’s Facebook page, the iconic outdoor electronic music festival is set to take place on December 2-3 at Siloso Beach in Sentosa, Singapore. The festival also teased its expected attendance, as it is expected to attract around 30,000 punters.

Like previous editions, the 2022 festival will be a “dusk-to-dawn beach festival,” with acts scheduled until 8 a.m. on the final day.

The lineup for this year’s festival has yet to be announced. Further information, including ticketing details, will also be revealed in the coming months.

ZoukOut last took place in December 2018 before going on hiatus. In a statement shared on social media, the festival said it would be “taking a break while we recharge”, adding that organizers would “do everything in our power to keep the festival and the Zouk spirit alive.” living”. It’s not the end, we’ll meet again!”

ZoukOut – organized by Zouk, one of Singapore’s most renowned nightlife institutes – is the city-state’s largest beach music festival. Its first edition was in 2000, with British DJ Dave Seaman and British-Canadian DJ Richie Hawtin headlining.

Since then, the festival has booked a myriad of iconic international DJs to grace their stages, such as Armin Van Buuren, Avicii, Martin Garrix, Dillon Francis, Claptone, Marshmello, Amelie Lens, Tiësto and more.

For its 2017 iteration, they shipped 88rising’s roster, which included Rich Brian, Higher Brothers, and Joji for an onstage takeover.

ZoukOut is the latest festival to announce its return to Southeast Asia this year. Other returning festivals this year include We The Fest, 88rising’s Head In The Clouds and the Formula 1 Singapore Grand Prix.

RL Grime announces Halloween: Dead Space in Los Angeles

Photo credit: Tyger Dison

Are you ready to get weird and wild with RL Grime during this year’s spooky season? The details of Halloween: Dead Space have just been revealed!

RL Grime continues to reign as one of the true kings of Halloween. Last year, his iconic mix series reached its 10th edition and the Valley of the Sands The boss performed a show at the Hollywood Palladium centered around him for the very first time. That special night created quite the buzz for his followers who were looking to celebrate Halloween with RL Grime, and now he’s reviving it for another round at an even bigger venue in Los Angeles The Kia forum.

Scheduled to take place on Thursday October 27RL Grime’s Halloween: dead space is shaping up to be another weird offering from the trap maestro. Officially announced via a trailer that features spooky, almost eerie audio recordings as the Kia Forum transforms into an alien spaceship taking off before prompting you to “register for your trip”.

Related: RL Grime helped open Insomniac’s new club, NOVA SD, in style earlier this year. Read all about it!

Where this journey will take participants is currently unknown as only limited details have surfaced, but if the past iteration is any indication, expect a highly curated lineup featuring top talent to join. him for the ride. If you’re a die-hard RL Grime fan, don’t sleep on this show as last year’s edition sold out fast.

Presale for RL Grime’s Halloween: Dead Space begins Thursday, July 21 at 10 a.m. PT and all remaining tickets will be available through the general sale taking place Friday, July 22 at the same time. Head to the official site to register for presale access.

Watch the trailer for RL Grime’s Halloween: Dead Space on Instagram:

RL Grime Halloween Dead Space

Follow RL Grime on social media:

Website | Facebook | Twitter | instagram | SoundCloud

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 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 story, 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.

Debt consolidation is not a solution to credit problems

Dear Dave,

Is debt consolidation a good way to get out of debt?

– Erikah

Dear Erika,

No it is not. Debt consolidation companies try to position themselves this way, but they don’t even come close to addressing or solving the real problem.

Here is the big reason debt consolidation is not a good idea. It makes you feel like you’ve really done something to change your entire financial outlook when you haven’t. When you move things around or suddenly have a lower payment each month, you end up thinking you’re making real progress. The thing is, you haven’t done anything to fix the real problem, which is you.

I meet people and talk to people all the time on my radio show who don’t quite understand that. They will tell me that they have paid off all their debts by using a debt consolidation company or by taking out a second mortgage on their house. Well, the truth is that they are not debt free. They have done nothing but pay off the same old debt.

Personal finance is 80% behavioral, Erikah. When it comes to getting out debt, not going into debt and putting your finances in order, you have to change your habits and behaviors with money. Interest rates aren’t the issue, and the number of payments you face isn’t the issue. The problem is the person you see in the mirror every morning.

Until you change that person and start living on a strict, written monthly basis. budget and decide to eliminate debt from your life once and for all, you will never make real progress in taking control of your money!

— Dave

Arp: New Pleasures Album Review


Many kilometers separate Eden from utopia. The first shoots, green and abundant, from intact soil. Utopias, the work of mere humans, are simulacra of perfection, cast in streamlined forms and polished to blinding brilliance. On his 2018 album Zebra, composer Alexis Georgopoulos, aka Arp, has sown an organic paradise from brilliant synthesizers and tactile percussion. It was hot and windy; even when blanketed in electronic tones, you could practically feel the wood grain on the plates of his softly struck marimba. On New PleasuresGeorgopoulos rejects Zebrait is naturalism. Instead, it stares ahead, creating an elegant, machine-driven sanctuary out of plastic drum machine patterns and irregular synthetic textures. Mallet instruments and fretless bass infuse the album with gentle warmth, but Georgopoulos seems more interested in the icy, detached soundscapes. If this is a picture of our silicon future, it is often a picture without air.

New Pleasures is the second opus of Arp’s Zebra trilogy. The first chapter, winding and sun-drenched, gave the impression of sliding along the water, warm in an inflatable raft, through an unknown but idyllic terrain. The new record also suggests forward motion, but it’s more like speed through a freshly paved tunnel late at night: smooth, propelling and lit by a cool fluorescent glow. Georgopoulos returns to his beloved collection of analog synthesizers throughout New Pleasures, coating the clattering drum machines with a metallic sheen. His choice of instruments reinforces the album’s retro-futuristic vibe, especially on the title track – a neon-lit sci-fi ballad that layers the spiny shards of a Prophet 5 and a Moog Model D with a fretless bass and 808s. Its latticework of synths is intricate and dynamic, but it’s Georgopoulos’ drum machines and percussionist Lautaro Burgos that provide the real meat of the track. Stuffed Linn patterns and a delicate marimba ground the muscular Phil Collins-waisted beats that punctuate the song, evoking a brilliant update of ’80s black tech.

New Pleasures emphasizes a few key sounds, like a painting rendered in a minimal color palette. Every detail is carefully arranged, but the ultimate effect can sometimes be too bright. It’s easy to listen to, but unlike its predecessor, New Pleasures tends to fade into the background, prompting listeners to space themselves out. Every once in a while, a beautifully blended drum passage or snappy synth enters the haze: Opener “The Peripheral” is lifted by chattering mallets and an effect that sounds like seltzer bubbles exploding in Dolby.

Little gems like this reveal themselves in every meticulously recorded track. Georgopoulos designs the “Cloud Storage” closure exclusively from such precise granules. It somehow feels astral and earthly at the same time; synths sway like beaming searchlights in the sky as programmed marimba and chirps rumble below. It’s one of the most sparse tracks on the record, inviting in its space. “Cloud Storage” is the most intimate companion to “The Peripheral”; the conversation between the two cuts suggests an album that is more vulnerable and quietly adventurous than most songs in between.

Arturia V Collection 9 reviews


Arturia V Collection 9: what is it?

Arturia’s ever-expanding pack is the most recognizable and – arguably – best value classic game in town synths as plugins. New iterations arrive regularly every year, and we can expect each to add a handful of new emulations as well as a refresh of some of the older plugins in the collection.

With this latest iteration, Arturia takes an unexpected slight left turn in the form of two new plugins – Augmented Strings and Augmented Voices – which set themselves apart from their V Collection compatriots by eschewing the retro-emulation theme in favor of a much more modern, broad approach.

Arturia V Collection 9: Performance and Verdict

But let’s deal with the more conventional additions first. V Collection 9 introduces two new emulated instruments to the package. The first is a synth that is surprising that it took Arturia so long to try: the barely obscure Korg MS-20. Korg’s own hardware reissue, the MS-20 mini, was one of the first significant synths of the affordable analog revival. Since then, Korg has released several hardware iterations, including desktop and full-size reissues, all of which add to Korg’s MS-20 software, which has been on the market since the early 2000s. before we even get to the unofficial versions…

Arturia Collection V 9

(Image credit: future)

The OG MS-20 was known for its ability to sound gritty, thanks to heavy, driveable oscillators and raspy resonant filters. Arturia leans heavily on this side of the MS-20’s character when it comes to branding, offering plenty of state-of-the-art presets. Comparatively, Arturia’s MS-20 feels like it’s getting into saturated, full-bodied territory a bit easier than Korg’s software version or modern hardware recreations. It also adds a few more features, like a simple oscillator sync switch and additional modulation routings on the front panel. Other than that, there’s not much to differentiate Arturia’s synth core elements from other recreations.

Also think…

Korg Collection 3

(Image credit: Korg)

Korg Collection 3
Korg’s own emulation pack also features an officially-branded MS-20 – and quite impressive.

NI Komplete 13 (opens in a new tab)
NI’s bundle is larger than the V Collection, with effects and more sampled instruments.

As with the other synths in the V Collection, Arturia’s version is distinguished by the modern bells and whistles added to the package. These include a sequencer, which models Korg’s own SQ-10, and a range of effects. The original SQ-10 was a three-track, 12-step CV sequencer designed to pair with the MS-20 and its MS-10/MS-50 siblings. The hardware itself could be tedious for precise pitches, but that added to its character. Part of the appeal of the CV sequencer/semi-modular synth combo was the ability to patch the SQ-10’s three channels to a whole range of parameters beyond the standard pitch and trigger inputs. Coupled with its simple portamento setup, this has led the SQ-10 to become a fantastic source of supple, acidic bass riffs. Arturia does a good job of recreating that workflow and patchability, and the resulting combo of soft synth and sequencer is a lot of fun to use.

On the effects front, the MS-20 V adds four effect slots, each of which can be populated with one of 16 processor types – borrowed from Arturia’s Pigments softsynth – which can be placed in series or parallel.

Although the MS-20 V is largely designed for aggressive synth sounds, the semi-modular design of the MS-20 has always been much more versatile than it first appears. As a synth, it has wonderful classic synth effects, drones and percussive sounds as well as more obvious bass and leads. Many already have access to an MS-20, but it’s a great addition.

Arturia Collection V 9

(Image credit: future)

The other emulation added for V Collection 9 is the SQ-80 V, a software recreation of Ensoniq’s hybrid synthesizer first released in the mid-1980s. A lesser-known culmination of early digital synths, the SQ- 80 original combined 8-bit digital oscillators with a Curtis-style analog filter and analog amp section.

Arturia’s SQ-80 V has been around for a while, but it’s a welcome addition. Like its real-world inspiration, its sound can range from early retro digital sounds to a solid range of synthesized pianos, intricate pads, and edgy, pulsating synth tracks.

Compared to other synths of the time, the SQ-80 was accessible when it came to programming, but the expanded view of the Arturia plugin version is still a welcome addition. Here users get a much more detailed initial level of control over the three oscillators and the filter. The improvements are most evident when tuning and routing modulation, and it’s the ability to apply the various polyphonic modulators to the digital oscillators that results in its most inspiring sounds.

Again, the synth is expanded with a modern, well-equipped arpeggiator and four-slot effects section similar to that of the MS-20. The SQ-80 V and MS-20 V also benefit from other attractive touches shared by their V Collection counterparts, including configurable macro controls and interactive tutorials that do a great job of showcasing the workflow of each instrument.

Increased collection

While the MS-20 and SQ-80 seem to be standard for the V Collection, the two new augmented-string and augmented-voice instruments are rather more unexpected. As their name suggests, they focus on string and vocal sounds, but it would be a mistake to think of them as mere sampling instruments. The “augmented” nature of the plugins refers to the mix of samples and synthesis at play, creating instruments that aim not so much for the realism of a meticulously sampled Kontakt library, but for a more modern hybrid sound suitable for electronic music or modern. cinematographic compositions.

Arturia Collection V 9

(Image credit: future)

Arturia Collection V 9

(Image credit: future)

Accessing the Advanced View offers a considerably deeper level of control and reveals what’s really going on under the hood of each plugin. In terms of workflow, Augmented Instruments are functionally very similar to Arturia’s Multi-Mode Software Synthesizer Pigments. As with Pigments, these instruments each use a multi-layered sound engine that combines sampled, virtual analog, wavetable, granular, and additive sound sources.

The overall level of depth is shallower than Pigments – fewer audio rate modulation options and no additional utility engine, for example – but there’s still plenty of power here. Each sound layer offers two types of oscillators, allowing for a multitude of sonic combinations, and each layer can have its own individual filter, selectable from a range of options including standard multimode filters, SEM model, as well as comb variations , phaser and formant.

Again, the modulation and effects pages here are like those found in Pigments, offering a nice depth with tools like function generators, randomization processors, and dual-layer effects. The main difference between this synth and these augmented plugins is that here each synth engine is assigned its own ADSR amp envelope, rather than featuring a global amp section like Pigments does.

The core of each plugin’s personality comes down to the multisamples contained within the sample engines. Each offers a variety of sounds ranging from simple tones to realistic multisamples and more esoteric and creative material. The level of control varies: basic sounds only have volume and pitch parameters, while others allow users to adjust the pickups or, for more creative sounds, an element of randomization.

These augmented plugins are definitely not conventional sampling instruments

These augmented plugins are definitely not conventional sampling instruments. It is possible to get “realistic” sounds from either, although they are not specialized in this area; there’s no control over string articulations, for example, or anywhere near the sample volume you’d get with something like a Spitfire or Eastwest string library. The combination of interesting source samples and surprisingly deep synthesis make them powerful tools. For electronic-leaning musicians looking for fast, inspiring string textures and vocals, they’re a great addition.

Updated and refreshed

As usual, this latest update updates several existing plugins alongside new releases. Now it’s the turn of the CS-80 V, Piano V, Prophet-5 V and Prophet-VS V. Although all have been completely rebuilt, what precisely has changed and how much varies from plugin to plugin. to the other. In the case of the CS-80, for example, the plug-in benefits from a considerably extended advanced view, much more pleasant for playing with modulation routings. There’s also a fully updated list of presets, more effect options, and a cleaner user interface.

The prophets, on the other hand, were divided into two autonomous instruments; in previous versions, both Prophet-5 and VS emulations were handled by a single Prophet V instrument. Once again, each gains a new set of presets, additional effects options, and more depth of control via the Advanced View , bringing them more in line with the collection’s new cuts.

Arturia Collection V 9

(Image credit: future)


We suspect the V Collection 9 might be a tougher sell for Arturia than previous releases. On the emulation front, the MS-20 is already a fairly common synth for modern producers, and the SQ-80 has been out for a while now. Augmented plugins, on the other hand, are a little less easy to sell, and it’s only when you master them that their appeal really becomes apparent. It’s worth checking out the whole collection, because there’s a lot to like here.

MusicRadar’s verdict: It’s arguably a tougher sell than some previous installments, but V Collection 9 gets more appealing the closer you look.

Arturia V Collection 9: practical demos



Venus theory

Synths and Technology at Gear4music

Creative Sauce

Arturia V Collection 9: Specifications

  • MAIN CHARACTERISTICS: Includes 33 software instruments including four new editions and four updates, plus 14 sound packs. Upgrade prices available, log in to an Arturia account to view offers.
  • CONTACT: Arturia (opens in a new tab)

American music producers Big O and Tranzformer release their first EDM album, “The Art Of Duplexity”


Author: Jennifer Stone

Music producers Big O and Tranzformer have collaborated on their latest album, “The Art of Duplexity,” featuring 12 stunning electronic melodies from both artists.

American hip-hop music producer Big O collaborates with an experimental punk rock artist and producer Transformer to release both their debut album The art of duplexity. The album consists of 12 extraordinary synth-pop melodies that have the power to hypnotize audiences with their hypnotic resonance. The album opens with the soothing EDM number, ‘dream walk‘ which starts with a very low and soothing melodic flow that slowly fades into a more playful yet happy resonance. In the album 5 songs are produced by Big O6 are produced by Transformerand the track ‘hi life‘ is produced by both.

Orlando Turner, better known as Big O, has always been drawn to music. He started creating his own beats at the age of 13 and has never looked back since. He currently resides in the UK and has collaborated with many artists like New York rapper LOU, Bizarre Ride, Frank N Dank P-Rawb’s Dankery Harv, and Skyzoo, among others. He recently teamed up with the San Diego music producer Transformer for his latest album, The art of duplexity. The tracks on the album are soothing, funky, entertaining and uplifting all at once. The album is available on Spotify and the video clip of the track, ‘Bi-Coast‘ is available on Youtube.

Writing our 2020 song about growth in Licking County


Songs from the 80s and 90s are part of my youth in more ways than one.

Now the whitewashed windows of Main Street

And vacant stores

It seems like there’s no one

Don’t want to come here anymore

Bruce Springsteen’s My Hometown might as well have been about my hometown. I grew up in a steel town that no longer produces steel. Most of my classmates did what Springsteen sang about: pack our bags, maybe head south.

Springsteen also sang a ballad about my dad’s hometown, Youngstown. It’s a melancholic song from a place in decline in a country that didn’t appreciate manufacturing and the nation’s cravings for steel.

Well my dad came on the Ohio Works

When he returned from World War II

Now the yards are just scrap metal and rubble

Even Billy Joel chimed in too, singing about the decline of the 80s. Allentown was about towns in Pennsylvania, but it spoke to a lot of us Ohioans at the time.

Well we live here in Allentown

And they close all the factories

Out in Bethlehem, they’re killing time

Fill out forms

Standing in line

My kids and grandkids (I’m grateful for one on the way) won’t have the same tunes stuck in their heads as I did. Words of growth and progress are being written in places like Newark and Licking County in the 2020s.

A whole new generation of songwriters has new fodder for so-called “problems” in Ohio in the 2020s – more jobs than people to fill them, more buyers than sellers of homes and more interested industrial companies than available industrial sites.

My generation has an obligation to remind future generations that these problems are not really problematic compared to the alternatives. Trust me. I watched the decline, not just listened in songs.

Figuring out how to fund a declining school system is more difficult than a growing one that is approaching capacity. It is a real task to rebuild old streets for a penny than to pave new ones for a dollar. Waiting for the new electronic paycheck from your job in your account beats waiting for the old paper unemployment check delivered to your front porch.

I will suggest that Bruce could write about Intel. This is the first new factory in decades happening in Ohio. The ground was shattered in Licking County earlier this month to signal the reality of a whole new semiconductor industry coming to the Heartland. Suppliers are already here in Ohio and the promise is that more are on the way. These facts bring with them a new song of positive progress instead of an old song of stagnation.

Billy could write lyrics about booming manufacturing of all kinds, like soy crisps at GB Food in Heath or polycarbonate at Covestro in Hebron. I’d suggest songwriters paint a picture of the soon-to-be-manufactured Behr paint in Licking County or get fired up about the gas compressor components assembled at the recently tripled Ariel factory. The Tamarack Dairy milk factory is expanding. The same goes for the thin film factory belonging to Transcendia. The 2020s expansion stories certainly beat out the opposite story of American manufacturing in the 80s.

Considering decline or growth, who does not choose growth for their children and grandchildren?

I think there really are lyrics somewhere. Together, let’s sing about the growth of the 2020s in our hometown.

Rick Platt is the President and CEO of the Port Authority of Heath-Newark-Licking County, a regular development columnist, and a father of four who lives in Newark. He is a member of the JobsOhio Board of Directors.

International Melodic Techno Artist THE ALEXANDER Reveals Details of Upcoming NFT Album and NFT Music Project ROBOPUNKZ

THE ALEXANDER is proud to present “Back In Time”, the first release from their forthcoming NFT album of the same name.

Prominent Sweden-based Persian musician, melodic techno DJ and producer THE ALEXANDER is proud to announce the release of his first single from NFT’s upcoming album, “Back In Time”. THE ALEXANDER also revealed the NFTs included in the 9-track album as well as the benefits for holders.

The international melodic techno artist is back with his first studio album under his own label, Hypnotic Rhythm Records. His debut track, “Output”, was edited by Dutch superstar Sander Van Doorn, later the same year he worked with Grammy-nominated Camelphat and released three singles that showcased his little techno-oriented sound. orthodox. The ALEXSANDER has also worked with other artists like Juniors Sanchez, Duane Harden, Rae and recently had a release on Tiesto’s AFT:HRS label with Miss Monique & Vania

THE ALEXANDER champions the techno and electronic music revolution, flying the flag high with their legendary combination of dark, mysterious and melancholy cinematic elements. The launch of his label in 2020 cemented his dedication to the musical style.

His 9-track NFT music album is set to be released throughout 2022. Each track on the album will have a 1-to-1 NFT, giving property rights holders, lifetime track streaming revenue, plus a lifetime concert pass.

NFT holders will also have commercially exploited rights to the track, free lifetime entry to ALEXSANDER concerts worldwide and Hypnotic Rhythm Label parties, HYPNOTICA. NFTs also give early access to releases and promos from ALEXSANDER and Hypnotic Rhythm Records. Holders will also have direct access and personal contact with THE ALEXANDER and musical coaching with the DJ/Producer.

Each NFT also includes musical samples from the album track. The single “Back in Time” will be released on July 29. The album is dedicated to underground music and rave culture.

THE ALEXANDER shares, “I wanted to create something that would focus on the origin of the industry and mark this new era that we are entering for creators and fans. For me, this is the future. I want to create a community around my music and my projects because I believe in the power of co-creation, innovation and the inclusion of communities as co-owners and investors so that all parties can benefit together.

After the full album is released, fans and investors will be able to bid on the NFT 1/1 for a limited time.

Through his label, Hypnotic Rhythm, THE ALEXANDER shares news, upcoming release updates, and more about his electronic music and techno music projects. He also uses his social media platforms to connect with fans and investors, telling people about the future of music in the NFT space and what it means for creators and fans.

THE ALEXANDER not only releases his album, but he also launches an NFT project including an educational charity, arts, music and electronic music platform, Robopunkz – a music-only metaverse and characters who publish everything as NFTs. The first release of NFT is scheduled for August 2022.

Follow his personal and label pages for more information on the NFT music album and Robopunkz projects.

Media Contact
Contact person: Alexander Shaje
E-mail: Send an email
Call: +46709191488
Country: Sweden
Website: http://www.instagram.com/thealexsandermusic/

EDMsauce.com Artist of the Week: Justin Irby


What’s happening to the nation of dance music? We’re so happy to bring you only the BEST in up-and-coming music, and today is no different. We have an amazing addition to our legendary Artist of the Week series coming to you from Phoenix, AZ and named Justin Irby.

Justin Irby is an up-and-coming producer known for delivering vocal-focused, feel-good house music designed for pure dancefloor euphoria. The Phoenix-born and based DJ, producer and remixer is hard at work in 2022 to establish his own distinct brand and sonic identity – built on groovy melodies, uplifting vocals and bouncy bass lines that are heavily influenced by godfather UK Vocal House and Dance Pop. like MK and Sonny Fodera.

“My creative process for this new track ‘Your Love’ stems from wanting to create something uplifting, empowering and relatable – something that touches on the situations we all find ourselves in from time to time across the world. vocals and melody as well as giving it a nostalgic touch for summer” – Justin Irby

“When I make a new piece of music, I want people to feel good and above all understood. When my music is playing in headphones or on the speakers in the club, I want it to contribute to people have the best days and nights of their lives, myself included.- Justin Irby

Justin is back with his second track “Your Love”, a gorgeous new vocal house dance track that’s shaping up to be an absolute heat-up for summer 2022! With passionate vocals, iconic organ hits and euphoric builds and drops – this summery stunner will have you feeling good and dancing to the floor wherever you go this summer. The track features a ton of amazing sound design, bouncy beats, and of course, a masterful production effort on the back end. The track’s strengths lie not only in the club- and festival-ready releases, but also in the easy-to-sing breakdowns and lyrics. “Your Love” is definitely set to strike a chord with the masses!

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Before we wrap up and let you enjoy Justin Irby’s discography, we had the opportunity to sit down with Justin and briefly discuss his future plans for 2022:

This year I really focused on keeping my head down, trying to create as much music as possible, because ultimately it’s a numbers game. I think artists get too much in their heads and get “decision paralysis” about whether a certain project is good enough to release, and that holds them back. I try to overcome this as much as possible by creating and releasing as much music as possible by the end of the year. My goal is to release a title every two months at a minimum for the remainder of 2022.”




Middle Eastern party scene thrives in Brooklyn


Just before midnight on a Friday in June, a short line formed outside Elsewhere, a music venue and nightclub in Bushwick, Brooklyn. Saphe Shamoun, one of the DJs performing that night, cautiously approached two women in line.

“Are you here for Laylit?” He asked. They nodded and Mr. Shamoun directed them to another entrance – and a much longer line – further up the block.

Laylitor “the night of” in Arabic, is a New York and Montreal-based party that highlights music from the Middle East and North Africa and its diaspora.

He’s had a residency at Elsewhere since October, but tonight was special: the event had become so popular that for the first time, it wasn’t taking place in the venue’s small halls but in its cavernous room, where more than 800 people would soon be dancing under a glittering disco ball and a hypnotic light show.

On the program: a performance by Anya Kneesa Lebanese drag queen and DJ sets featuring Arabic popular, hip-hop, popular and electronic music.

Ten years ago, it was virtually unheard of for a major New York club to regularly throw a Middle Eastern-themed party. But now, Laylit is part of a thriving scene in Brooklyn that puts Middle Eastern and North African music front and center.

The events vary in style, but they all celebrate cultures that promoters say have been overlooked in the West. And they offer many New Yorkers a sense of comfort in a bustling city that can nonetheless feel isolated, especially after more than two years of the pandemic.

“It’s so, so beautiful to see the community come together,” said felukah, a hip-hop artist who moved to New York from Egypt in 2018 and is a regular at Laylit and other similar parties. “The sounds remind me of home.”

For some revelers, nostalgia is the main attraction. Yet each event is also forward-looking, whether challenging stereotypical notions of Middle Eastern culture or championing inclusiveness and progressive ideals.

Laylit, for his part, has created a shared space for Arabs who uphold these values, said Shamoun, a Syrian DJ and Ph.D. candidate who founded the party in 2018 with Wake Island, a Montreal musical duo made up of Philippe Manasseh and Nadim Maghzal.

Ironically, it wasn’t until the two left their native Lebanon that they embraced its sounds.

“It wasn’t cool when I was growing up to play Arabic music,” Mr Maghzal said.

“It was actually not cool,” Mr. Manasseh added.

And after migrating to Montreal in the early 2000s, they actively separated themselves from their culture, fearing discrimination and feeling a duty to assimilate, Mr. Manasseh said.

But now they’re using Laylit as an outlet to rediscover their roots. In September, they will celebrate the party’s fourth anniversary with another show at Elsewhere and a tour of Montreal, Detroit and Washington, D.C.

Disco Tehran, a dance party and performance project that channels the international musical culture of 1970s Iran, was also born out of the immigrant experience. Organizers Arya Ghavamian and Mani Nilchiani said it took years to get it off the ground.

Almost a decade ago, Mr. Ghavamian, an Iranian filmmaker who had moved to the United States a few years earlier, asked an organization to throw a party to celebrate Nowruz, a holiday that marks the beginning of the Persian New Year and is observed in several countries of Central and Western Asia. “It was a ‘no’,” Mr Ghavamian said.

A few years later, he started hosting get-togethers in his apartment where he cooked Persian cuisine and invited musicians to play. In early 2018, his apartment could no longer accommodate the crowds, so he and Mr. Nilchiani held their first public Disco Tehran event: the long celebration of Nowruz.

Since then, the party has grown and evolved, and now includes a movie project and community outreach efforts. He celebrated his fourth birthday last month at the Sultan Room, a nightclub and restaurant in Bushwick, with an eclectic playlist and performances by Alsarah and the Nubatonesa retro pop group from East Africa, and Epiloguea Puerto Rican indie-funk band.

Disco Tehran, Mr Ghavamian said, “is about a collection of different cultures that may have nothing to do with each other on any given day, but they come together.”

And the project is on its third European tour, giving organizers the feeling that they “have a place wherever we are in the world”, Mr Ghavamian said. His next New York event is on August 13 at the Knockdown Center in Queens.

Yala! party project also grew out of intimate gatherings in apartments, hosting its first public event in the spring of 2018. (“Yalla” translates to “let’s go” or “let’s go” in Arabic.) Its founder longed for a queer party featuring South West Asian and North African Music.

Over the years, Yalla! has become an artistic collective and an exercise in community development. It’s the start of a business directory to help people find jobs and he runs a market that supports small businesses run by women, people of color and queer people.

Its parties reflect the cultural diversity of New York. During a performance in May at the Sultan Room, a Eritrean henna artist drew intricate patterns on a man’s palm as revelers danced R&B and Lebanese pop. Yala! also ramped up programming during Pride Month, with four events spread across venues in Queens, Brooklyn and the Bronx.

Once word of Yalla! moved, similar events followed. It was at the beginning of Yalla! show where Mr. Maghzal, from Laylit, first shot Arabic music. A year later, a drag queen named Ana Masraya — her name means “I am an Egyptian woman” in Arabic — hosted a Middle Eastern and North African cabaret called Nefertitties, a play named after the ancient Egyptian queen.

Ana celebrated her show’s third anniversary in May with an event in Littlefield, Gowanus, and traveled to Washington, DC for a cabaret in late June. for her Grand Entrance during the anniversary show, she was carried on a makeshift sedan chair, wrapped in a sheet of gold mesh, which she then removed to reveal a gold crown modeled after Nefertiti’s.

On stage, Ana spoke about her experience as a publicly known LGBTQ person from the Middle East, a region where homosexuality is largely taboo and can, in some countries, lead to persecution. “It’s crazy scary sometimes,” Ana said.

The night featured drag performances by Rifi royaltywho is Egyptian American, and Meh Mooni, who is American of Iranian descent; a set of Felukah; and a belly dance contest on an Egyptian song that is a must for Arab evenings: “Shik Shak Shok.”

The following week, the song will be played again on the roof of the Sultan Room during Hazaa dance party and radio program which began in 2019 and spotlights artists from the Middle Eastern and African diasporas and beyond.

One of its founders, an Egyptian-American DJ and creative writing consultant who performs under the name Myyuh, grew up in a predominantly white Connecticut town, where she says she is largely detached from Egyptian culture. She felt embarrassed when her mother played Arabic music at home, she said.

But in Haza, she turned to him for comfort – and blasted him to a throbbing dance floor as her fellow Arabs squealed with delight under the Bushwick sky. (Haza will return to the Sultan Room for her next show on July 29.)

“We create a totally different experience with these songs,” Myyuh said.

Its co-founder, an Egyptian DJ and sound engineer who performs under the name Carmen Sandiego, likened the experience to a hug.

“It’s everything you know and love,” she said. “And it’s not just you, but the person next to you is singing the same thing because they understand why it’s so meaningful.”

For Mr. Shamoun, from Laylit, this experience is particularly important for those who have fled the Middle East amid war, uprisings and refugee crises.

“We have been deprived of a present and a future in the Arab world,” he said.

When behind the decks at his shows, he often catches sight of recent immigrants and hopes the songs he plays will bring them home, if only for a few minutes.

While the events continue to generate buzz, few promoters seem to be competing – in fact, most of them are collaborating with each other.

Ana Masreya performed at a Laylit party earlier this month, drawing cheers from the crowd, while Myyuh was in DJ lineup.

Mr. Manasseh believes the scene grew out of what he calls an “assert yourself on the dance floor” movement that took hold after the events and gained strength when Donald J. Trump became president.

Rock was suddenly out, dance and electronic music were all the rage, and more and more people of color and LGBTQ people were creating spaces where they felt seen and heard.

Although Laylit is apparently rooted in distant cultures, Mr. Manasseh attributes its existence to a single city.

“All of this was inspired and made possible by New York,” he said.

beyonce: This first TikTok video of Beyonce for the upcoming album “Renaissance” is going viral

Beyonce joined TikTok last year, but her account had no posts until yesterday. On July 14, Beyonce finally uploaded her first post on the trending video-sharing app. The post was a video compilation of many TikTokers growling to the tunes of Beyonce’s latest release, Break My Soul, from the upcoming album, Renaissance.

In a single day, four million people watched the video uploaded by Beyoncé. Cardi B made an appearance in Beyonce’s music video, shouting out a line from the song. Beyonce thanked her fans in a touching caption for their support of “Break My Soul.” She continued to express her joy for the admiration.

Electronic music has long been popular in queer neighborhoods. Beyonce, Big Freedia and Robin S. co-wrote the song “Break My Soul,” which was released last month. When asked about the song, she mentioned that she had some dancing, specifically disco. It has a groundbreaking sound that focuses primarily on developing ballroom culture.

Beyonce said she wrote this song for those who continually search for something within themselves. This song would motivate such people to find their true zeal and establish their foundation. Also, people who don’t like motivation or need inspiration can enjoy this song by testing it as a runaway track.

Break My Soul is the first song from Beyonce’s upcoming studio album, Renaissance. The album will be released on July 29 worldwide. Renaissance will be Beyonce’s new studio album.

Who is Beyoncé?

  • Beyonce is an American songwriter, singer and actress.
  • In the 1990s, she shot to fame when she was recognized as the lead singer of Destiny’s Child.
  • On several occasions, she appeared on the American Billboard Hot 100.
  • She is the holder of twenty-eight Grammy awards.
  • She has acted in many films, such as The Pink Panther and The Lion King.
  • As a solo artist, Beyonce is one of the top selling artists as her records have sold over 120 million copies.
  • In 2020, she was included in the Times list of one hundred women, who ruled the last century.

What is Beyonce’s intention behind creating a song like “Break My Soul”?

When Beyonce was asked how the idea for this song came to mind, she wrote that making this album is like creating a place for dreams in today’s scary times. This song gave him a sense of identity and freedom when everything was at a standstill. She wants to create a safe place for everyone where they are free from judgment, overthinking, and the fear of not being perfect. A place where people can be free, scream and be whatever they want, free from imposed opinions. This song is the beautiful journey of self-exploration.

Disclaimer: This content is written by an external agency. The views expressed herein are those of the respective authors/entities and do not represent the views of Economic Times (ET). ET does not guarantee, vouch for or endorse any of its content and is not responsible for it in any way. Please take all necessary measures to ensure that the information and content provided is correct, updated and verified. ET hereby disclaims all warranties, express or implied, with respect to the report and its contents.

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What to expect over the next three weekends


Tomorrowland 2022: what to expect over the next three weekends

You can feel the magic in the air. The time has almost come. Thousands began their pilgrimage at Boom, Belgiumfor one of the biggest festivals of the year, Tomorrowland 2022. As the event prepares to celebrate the opening of its doors for the first time since 2019, there’s tons of excitement surrounding everything that will unfold over the next three weekends. Below is what those heading to the event can expect.

As many know, Tomorrowland 2022 will begin in the infamous Schorre Park, which spans approximately 38 square kilometers (9,390 acres). What festival-goers can expect, especially first-timers, is that the moment you step through the entrance, you’ll be transported to another world. With more than 15 stages and thousands of artists and activities, you will no longer feel like you are on Earth but in a world of tomorrow. This year’s theme is “Reflection of Love” so many areas inside the pitch will look like this idea, and judging by the leaks, it will play out in the future. Expect to be blown away by the size of the park and all there is to do inside. Take time to explore as it is a one of a kind atmosphere.

It probably goes without saying, but expect to be overwhelmed by the incredible design of each stage. Whether the Mainstage, Freedom Stage, Core Stage or all tag takeovers, prepare to be overwhelmed by how beautiful each stage is in its own right. Each structure presents its own story, with every detail of the scene having a purpose. The pictures don’t do it justice. Once you’ve seen every step with your own eyes, you’ll never want to leave.

The main thing is above all to prepare to be captivated by the greatest artists of electronic music. Because it’s Tomorrowland, each act will bring its best set. And this time there’s more performance than ever. This festival has become synonymous with creating all-time historic moments throughout its tenure, and now that Tomorrowland returns for the first time since 2019, that magic will be in full effect for the next three weekends. Acts such as Hardwell, Martin Garrix, Charlotte de Witte, Eric Prydz, Lost Frequencies and countless others will present performances that can truly only be experienced at Tomorrowland.

Expect to be part of the biggest Tomorrowland in history. Not only is the event returning, but they are bringing with them an unprecedented third weekend. Everything this year will be bigger than any previous edition. No matter who you see or what fun Tomorrowland 2022 activities you do, you’ll be part of the story of one of the best music festival experiences worldwide.

Check out the Tomorrowland 2022 stream and full lineup here.

Image Credit: Tomorrowland

Why African Electronic Music Will Ring Club Floors


“Kalemba” is one of the best-known pieces of electronic music recorded by African artists in the 2000s. Released in 2008, the track, with its unforgettable sound “wegue wegue” chorus was a dancefloor banger across Europe and the United States, and was part of the soundtrack for the 2010 FIFA video game.

It was not surprising to see the Angolan-Portuguese group Buraka Som System performing it a year later at Sonar, the Barcelona festival that today is one of the most renowned electronic music events in the world. Buraka was at the time the only one linked to Africa on the stages of Sónar. It was therefore quite surprising to see the same “wegue wegue” piece played last month at the same festival.

On the main stage of Sónar in 2022 there was pongo, the original singer of “Kalemba”. Not only was she delivering a healthy dose of nostalgia, but the 30-year-old artist was also launching some of his new singles to the crowded, open-minded audience at Sónar. This time, Pongo was not alone. Ten artists deeply connected to African music were lined up for this year’s festival. There was a new message echoing for 2022: African electronic music is the Western dancefloor soundtrack for the next decade – and African artists are taking the lead.

“It’s important to see African artists in festivals like this because the music comes from Africa,” says Pongo. “And from the very beginning, I see myself as an electronic music artist.” After a successful breakthrough in the late 2000s, Pongo went solo in an industry that cared about music radiating from African dance floors. Among several trends that are going on in the United States and Europe, Pongo’s Kuduro was a good choice of bets. But the following years showed that the road to the top was strewn with pitfalls. On both sides of the Atlantic, superstar/celebrity DJ phenoms have taken over the charts with EDM frenzy and the underground has sunk deeper into self-referential digital culture.


Photo: Vincent Ducard for Milgram Productions.

Of D’banjthe seminal afrobeats hit “Oliver Twist”, released in 2010, in Nyege Nyege first edition of the festival, held in 2015 in Uganda, African electronic music has opened a solid bridge to the West in recent years. Beyoncein 2019 Gift was one of the first records to draw inspiration from this massive wave of electronic music from Africa. That year, Pongo gathered the sounds that would build his next album, Sakidila, an afropop catalog that mixes reworking of Kuduro, melodious afrobeats vocals and notes of amapiano and baile funk. “Sakidila means ‘thank you’ in Kimbundo,” she says. “Africa as a whole is in my album.”

Born in Angola and raised in Portugal, Pongo found in France a pool of collaborators for the production of her album. Producer King Doudou and rapper Meryl are two of the artists who lent their musical skills to the singer during her solo debut. Connections like this are another important key to understanding the strength of African electronic music today. It is impossible to deny that the multi-million dollar industries based in Lagos or South Africa have been active beehives in providing a solid base for the growth of local electronic music groups. It’s also no surprise to see artists like DefJam and other related big names hitting the continent recently, once the hardest part of the job is done. But connecting the dots between Africa and the rest of the world has also propelled genres like Gqom or Kuduro onto the global dance floor.

Such an international enterprise is not uncommon today. This ranges from short-lived collaborations, such as Black coffee and Duckjoint work in the rapper’s latest album, Honestly it doesn’t matterto massive projects, such as Boddhi Satvafrom the trilogy—the album Demonstration released in June, sealed his ten-year oeuvre begun with his 2012 Invocation. More radical sounds also have their place in this sonic canvas. Nihiloxicaanother African electronic music group that performed at Sónar 2022,embodies this multinational entanglement on stage. The group is made up of Ugandan percussionists Isabirye Henry, Kasooma Henry and Mwanje Jamiru and British musicians Jacob Maskell-Key and pete jones. In Barcelona, ​​they presented a set of feverish, genre-breaking sound pieces produced across the bridge between Uganda and the UK.

“Nyege Nyege has definitely created a scene in Kampala,” says Jones, who first landed in the Ugandan capital in 2017 with his friend Maskell-Key. Once there, the duo met the percussion group Nilotika Cultural Ensemble and launched the collective project. What could be a unique team has become a unique maelstrom of tangled drum cells, melodious synths and explosive Buganda percussion with a couple of EPs, an album out and another in the works. “We’re getting into a weird niche in electronic music festivals, that’s good,” Jones says. “And we have some tough songs, I watch the people in the crowd and sometimes they have a hard time dancing to our music!”

Bringing unusual and offbeat rhythms to the main stage is also a motivation for the Barcelona collective Yoko. In addition to closing one of the parties on the Boiler Room stage of the Primavera Sound 2022 festival, the five-year-old team also had a representative at the Sónar festival. This role was played by Mbodjan alias for Maguette Dieng, a Senegalese-educated Spanish DJ and one of the founders of Jokko. “When we created the collective, the music people were used to was traditional or modern African music, but nothing was up to date,” she explains. “We missed a place where we could listen to contemporary African music.”

In recent years, party collectives like the Spanish Jokko, the French The Creole or Canada Bootleg alcohol released the latest electronic music tracks created in African studios or throughout the Diaspora worldwide. While catering to younger audiences eager to find new music or connect to their roots, they also laid the groundwork for various black identities to set new club trends. “I think people are more open-minded to understand electronic music that‘s not made in Europe,” says Dieng. “And discovering new music is the most interesting thing about being in a club: the body learns different languages, different codes.”

Dieng believes that some bridges need to be crossed when it comes to merging African electronic music into the global club music landscape. A cultural agitator, she assumes that many European bookers cannot afford the visa and travel costs of African producers and DJs. At the end of the day, a party or a concert must also bring in money. On the other hand, there are those who see Africa’s leading club music artists as a temporary goose or exotic filler for more diverse line-ups. “Electronic music is a very lucrative industry right now,” says Nihiloxica drummer Jacob Maskell-Key. “And it’s still very hard to infiltrate these places, techno music, with our styles.”

With a decade-long career and several summer dates at festivals such as Afro-centric African Nights in Canada or the UK’s dancefloor-oriented Blue Dot, Pongo sees new horizons for African electronic music, but she’s not naïve. The artist recalls his performance during Portugal’s preliminary phase for the 2022 edition of the Eurovision music competition. With DJ marfox and singer Tristany, she performed the laced Kuduro song “DÉGRA.DÊ” and made it to the semi-finals. “It was great, we felt our music was included, it was part of Portugal,” she says. “But this is only the beginning. The question is: what next?”

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ODESZA Gives A Final Taste Of Their Upcoming Album With “Light Of Day (feat. Ólafur Arnalds)”


ODESZA‘The Last Goodbye’ next album is out July 22nd (via Foreign Family Collective/Ninja Tune, pre-order HERE), and as the GRAMMY-nominated duo of Harrison Mills and Clayton Knight progress towards their highly anticipated full unveiling, they have released the final track “Light Of Day (feat. Ólafur Arnalds)” today, giving fans one last taste of what to expect before the LP finally drops.

The track is a cinematic escapism that transforms from a futuristic piano ballad into a complex electronic revelation with an enchanting vocal chorus courtesy of Stephen Ambrose. The song is a collaboration with longtime friend and Icelandic instrumentalist, Ólafur Arnalds – together building the orchestral foundation that gives this song that dichotomy of fragility and resilience, throughout. The vocals are inspired by an Ambrose folk song released in 1972 titled “Mary”. Ambrose is also a pioneer in the world of audio, responsible for paving the way for touring musicians in his invention and development of the first wireless in-ear monitors, now found on stage around the world. . Listen now.

On the collaboration, ODESZA notes:

Light of Day was one of the first songs on the record that we finished. It served as a bookend for the record – and really, a guide for the project as a whole. This song started with Ólafur, an incredible artist and a long time friend, who sent us a first idea. The vocal sample is from a 1970s folk song called ‘Mary’ which we discovered while rummaging through old records – featuring Stephen Ambrose. We see this voice as a sort of slowly building mantra, something we hoped would evoke that feeling of being at peace..”

Last week, ODESZA further teased the upcoming LP by releasing the first phase of “The Maze,” an interactive, strategic web game that explores the album‘s themes via “quests” assigned to each track. Much like a virtual treasure hunt, “The Maze” requires fans to navigate ODESZA’s web and social channels in addition to real-life activations and joint teamwork to uncover clues and unlock rewards and skills. price. A nod to the bond they’ve forged with their fanbase, the maze has sparked a collective frenzy that has them fully engaged, as they work together to solve the puzzle.

A true testament to the connection they’ve developed with their community, ODESZA have sold over 350,000 tickets during the initial 48-hour ticket sales period of their upcoming ‘The Last Goodbye Tour’, reaffirming the Seattle duo as one of the live of modern music. performance behemoths. Three nights at the Climate Pledge Arena in Seattle, two nights at the Forum in Los Angeles and two nights at Forest Hills Stadium in New York are just a few of the most notable sold-out shows. In a recent cover story, in reference to the tour, Pollstar clearly stated “ODESZA is making history”. Full dates HERE.

Additionally, ODESZA is partnering with REVERB, environmental nonprofit and music industry veterans, to make their tour more environmentally sustainable and inspire fans to take action for people and society. planet. Not only will the tour be carbon negative, eliminating far more greenhouse gas pollution than the tour creates, but there will also be pledges at every show to encourage fans to get involved to take action against it. climate change.

With over 5 billion total streams, ODESZA has re-emerged in a masterful way to remind the world of what made the duo Harrison Mills and Clayton Knight cornerstones of the modern electronic landscape. Their latest album ‘A Moment Apart’ was not only a commercial success (it went gold and debuted at number 3 on the Billboard 200), but it also received critical acclaim, including two GRAMMY nominations and accolades from NPR, Rolling Stone, Billboard, Complex, Consequence and more.

The duo have cultivated a die-hard fan base of massive proportions: known for their groundbreaking, awe-inspiring and immersive live performances, which reached over 2.85 million fans during their ‘A Moment Apart’ tour. They also had standout performances at Coachella, Lollapalooza and more, as well as performances on Jimmy Kimmel Live! and Conan, and launched their own music festival SUNDARA in Riviera Maya, Mexico in 2019.

It Reaches You Deeply: Otik’s Emotional, Bass-Rich Music Is Inspired by Real-Life Experiences – Music

You have just launched your own label, Solar Body, what is your mission? What can people expect from the label?

First and foremost, I started the label so I could increase the number of records I was releasing. I find it frustrating to have to wait so long to release music with other labels. It’s not their fault; distribution delays, pressing plants, label release schedules, etc. mean it can take 6-12 months before a record is released. I discovered that at that time I was already a bit tired of music, or I feel I can offer something better. So, having my own digital footprint, I can make a track that I like and I’m already able to release it in a few months when I still have a connection with it. In terms of the label’s sound production, I wanted to display the full spectrum of my influences. I want it to explore all aspects of the hardcore continuum while remaining hand-in-hand with ambient and ethereal atmospheres – it’s the Otik sound I’ve been trying to solidify for the past few years. I only plan to release my own music on Solar Body as is, but I’m open to more advanced ideas.

You’ve had a number of releases on Keysound, Intergraded, Shall Not Fade, Club Qu… what’s your process in the studio? How do you think your sound has changed in recent years?

My process in the studio has remained relatively the same over the past 10 years, but I think my goals have changed. I always start with the drums first, I try not to make the rhythm too generic and a bit more off-road, and as much as the melody should be catchy, so should the drum pattern. Once I’m happy with that, I spend a few minutes (or hours) playing melodies over it or finding the perfect sample or pad from a movie score or VST, then I build around that. About five years ago my goal was to do something as eye-catching and serious as possible – but since then I’ve started to explore my spirituality and learn to tap into my inspirations without copying them. Now I am channeling my own life experiences into sound and the pieces first come together more tightly and it has evolved into something deeper. The way I know something is working in the studio is if I lose myself in a trance while the track is looping, or even nicely in place. Sometimes I start thinking about something that happened or is happening in my life. I don’t meditate as often as I should, but nowadays producing is the closest thing I can describe to that feeling.

Your recent album “Psyops” married breaks/jungle and more woozy atmospheric ambient sounds, do you think it’s a common thing for you to balance? does it reflect both sides of your personality?

My favorite music is the one that touches you deeply and makes you feel strong emotions like nostalgia, sadness or faith. Music that can make you transcend or feel enlightened for even a moment. But I also like firecrackers! I like heavy drums and punchy bass. I guess the vibe reflects a side of me as I’m a bit of a dreamer and consider myself relatively spiritual. I meditate when I can, I am very interested in esoteric philosophies and the mysteries of God and the universe. But most of the time I’m a pretty light and basic person, I’m not this deep, reclusive character. I’m a pretty private person, I guess; I don’t really share my daily life on social media, but if you know me well and I’m not in the studio or at the gym, then I gossip a lot of bullshit and make loads of stupid jokes, do the party quite often, care too much about my appearance, and listen to an unhealthy amount of SoundCloud rapping. What some might say, I suppose, are quite material qualities and far removed from spirituality or enlightenment; two of the kinds of energies that I try to inject into music these days. But since deciding to balance every side of myself in creating my music, it seems to make a lot more sense to me than ever. When I hear my earlier catalog, I feel like there was something missing in all of this. It’s only been a few years since the music seems complete.

To read next: The gentrification of the jungle

You are originally from Bristol and now based in London. How do you think the two cities compare? What impact did they both have on your production?

I’ve lived in London for almost 11 years now, and only return to Bristol a few times a year at most to see my family. So it’s hard to say that Bristol had as much of an effect on my music as London. a, but I would definitely say that my bass and heavy side is influenced by my hometown. Most of my Jamaican family members live there and I grew up around a lot of reggae. Bristol’s bass scene is also an entity in its own right, and many of my favorite labels, such as Livity Sound and Timedance, stem from it. The dubstep scene in the early 2010s was very vibrant in Bristol when I was also in my late teens, and I completely immersed myself in it, so it definitely had an impact on my music.

What are some of your early musical influences? Do you remember the first time you got into electronic music?

I get asked this question a lot and I always answer with Burial, which some might find a bit evasive because who in this scene isn’t inspired by him? But to be honest, he’s not my only inspiration, he’s just the biggest one I guess. I discovered it in 2011 but before that I was into James Blake, Radiohead, Kendrick, early The Weeknd (I stopped listening after The Trilogy), Clams Casino, Jamie xx and The Streets. After Burial, I started to be heavily inspired by artists like Mount Kimbie, XXYYXX, Floating Points, Sully, Caribou, Altrice and Djrum. I also remember being told my stepdad and mom were loosely friends with some members of Massive Attack and Portishead before they grew up, I don’t know how close or how close they were how true those statements were, but it always stuck in my head and I loved their music from a young age.

PREVIEW: Five things to expect at Deer Shed Festival 12


When: July 29-31, 2022
Where: Baldersby Park, Topcliffe, North Yorkshire, England

In a little over two weeks, and after an absence of three years imposed by the pandemic, we will welcome the whole Deer Shed Festival live. The twelfth edition of this three-day family event with great intergenerational appeal will once again be filled with musical, artistic, scientific and sports activities for the enjoyment of the whole family.

Built around a theme this year of pocket planet and promoted as “a celebration of different things from different places”Deer Shed Festival 12 will bring us a wide and diverse range of music, comedy, entertainment, science, sports, spoken word and literary pursuits, theatre, workshops, arts, film and Wilderwild, an exciting exploration of the wildest spaces in the beautiful setting of Baldersby Park whose rolling pastures lie about six miles south-west of the market town of Thirsk.

Here are five things God Is In The TV is looking forward to at this year’s festival:

Stewart Lee presents King Rocker

The famous English comedian, writer and director Stewart Lee presents the anti-rockumentary King Rockerthe film that he and the venerable British comedy director Michael Cumming made on the cult post-punk band The Nightingales.

Stewart Lee is a longtime fan of the Birmingham-based band, its charismatic frontman Robert Lloyd and his previous group The Prefects and describes the two years he spent writing and pitching the project as “a labor of love”.

The feature-length documentary weaves the band’s story with that of a King Kong sculpture that was erected in the city’s Bull Ring shopping center in 1972.

Self love

One of the many artists this year making a most welcome return to Deer Shed, Self love last appeared at the festival three years ago. On this occasion they played around Friday tea time on one of the smaller stages. Illustrating how far the Self Esteem star has come in the meantime, this year they headline second on the main stage of the festival centerpiece on Saturdays.

Prepare to be dazzled by Rebecca Taylor‘s supreme pop project where she will be supported by her fiery band and three backing vocalists who will join her on the towering choruses of her songs and these fabulously choreographed dance routines.

Self love

John Francis Flynn

Deer Shed Festival offers four musical stages. The smallest of these is the Acorn Stage, but the Friday night headliner is John Francis Flynn, a great man, with a great personality, and an overflowing talent. Very modestly describing himself as “a Dublin man, a singer of folksongs and player of wind instruments”the time spent in his musical company confirms that he is much more than that.

Having served the most credible time on his hometown folk scene over the previous decade, both as a traditional band leader Skipper’s Alley as well as working with the likes of Irish folk bands You wanderers and Lankumlast year John Francis Flynn released his outstanding debut album I won’t always live. Check it out. I guarantee you won’t be disappointed.

Delia Workshop Derbyshire

A name that may not be immediately familiar to many, Delia Derbyshire was a highly influential electronic musician who in the 1960s worked with the BBC Radiophonic Workshop, one of the national broadcaster’s sound units. Her most famous work – something for which she was never credited during her lifetime (she died in 2001) – is the credits to the classic science fiction television program, Doctor Who.

As part of this year’s Science program, the team of Derbyshire Delia Day – a Manchester-based organization that pays tribute to this pioneer of electronic music – will be coming to the festival to talk about her life, her work and help us create our own Deer Shed theme using sounds that have been recorded from our immediate physical environment.

Court Act

Deer Shed has a long established tradition of showcasing local talent. Coming from nearby Leeds in West Yorkshire, Court Act easily fall into this category. Recently named as the most reserved emerging artist this summer at European festivals, you can see exactly why. Released in January this year, their debut album Overload debuted at number 2 on the UK charts and since then their considerable creative and commercial stock has grown even further. It was only last week that news of a collaboration between Yard Act and no less than Elton John who contributed piano to a new version of the album track ‘100% Endurance’. Catch them early Friday night on the main stage and start your Deer Shed 2022 experience on the right foot.

Full information about Deer Shed Festival 12 and the last remaining tickets for the event can be found on the Official Deer Shed Site

Self-Esteem Photo: Simon Godley

Eli & Fur presents latest single “Skyway” on Cercle Live Stream


Eli & Fur lifted fans above the clouds with their latest single “Skyway” during their Circle live stream at Skyway Monte Bianco in Italy!

Circle always sets the bar high, seeking places that stun the mind, in places that represent the spatial wonders of the world. Taking a look at past editions of their feeds, you’ll find big-name artists such as Jamie Jones, Disclosure, Bob Moses, Black coffee, Above and beyond, and many others carrying the torch. Now you can add Eli & Fur to this list as they recently played in Italy, live from Courmayeur at Skyway Monte Blanco.

Eli & Fur opened the show with their latest single, “Air route”, and played in the dawn of a bright horizon line through the clouds. The livestream begins with a swinging chord conceiving mystery, as a panoramic view of the Italian mountains flickers through sunlight and clouds. Next, the low-frequency bass line pumps adrenaline into the air as Eli & Fur present their unique sound and voice in perfect harmony, echoing above the mountain range. Then, as “Skyway” moves on to the next track, the added layers of production sweep through the heart, producing a lasting impression as a light beat draws listeners into a hypnotic reverie.

The latest edition of Circle put the heart and soul of the duo’s most authentic expression at the helm, and by sharing their authenticity, this performance is a true indicator that Eli & Fur will continue to push themselves beyond to their limits, emphasizing the anticipation for more music to come from the duo.

While waiting to see what’s next, hit play on Skyway Monte Bianco’s Eli & Fur set and enjoy their brand new track “Skyway” on your favorite platform.

Watch Eli & Fur live from Courmayeur, Skyway Monte Bianco on YouTube:

Eli & Fur live from Courmayeur, Skyway Monte Bianco

Follow Eli & Fur on social media:

Website | Facebook | Twitter | instagram | SoundCloud | Youtube

Follow Circle on social networks:

Website | Facebook | Twitter | instagram | Youtube | Tic

Debt Consolidation Loans Market Explore Development Share, Business Outlook, Regional Overview & Growth Opportunities By 2028 | Upstart, Lending Club, Prosper, OneMain Financial

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History of the Opera: “I love this building”


Stewart Johnston, son of Jay Johnston and grandson of Fay Johnston, is at least the third generation to play his role on the Opera stage.

“The Opera House is a cool and unique building. We should recognize that we are fortunate to have a small bastion of culture in a place beyond the rural. Most rural towns don’t have that kind of access to the arts. I love this building.

Johnston has played many roles at the Opera, as a patron, as an actor, as a volunteer. He performed on stage, worked behind the scenes to learn all the elements of the performing arts, and volunteered in countless productions on lighting, sound, and wherever needed. He spent a lot of time in the audience with his family, going to concerts and touring shows, where he was blown away by the quality of the lineup. He still remembers his childhood excitement when he saw the Glenn Miller Orchestra. The orchestra is still led by the family of Glenn Miller, one of the finest trombonists, songwriters and producers of the swing era. Johnston is delighted to learn that the Glenn Miller Orchestra will return to the Opera in August.

Kathy King Johnson is Executive Director of the Cheboygan Region Arts Council and Opera House.  Originally from Cheboygan, she is a Hopwood Prize-winning writer from the University of Michigan.

Because Johnston spent so much time at the Opera as a child, he “knows more than most operations”. He understands the operating space of the Opera and respects it. “It’s not just being on stage, but behind the scenes is where a lot of the work happens,” Johnston said. There is no place at the Opera that speaks to him more than the building’s famous acoustics. “It is not a physical place, but rather a physical quality of space. You can stand on stage and be able to throw without too much breath or force and clearly hit the back wall.

With room to roam the physical grounds of the historic theater, Johnston has also found a safe emotional space to grow. Johnston said: “I have a lot of personal attachment to the Opera. I attribute my ability to participate and function in the adult world to my time at Summer Youth Theatre. Johnston was often referred to as a nerd growing up. “It’s a classic trope – nerds are dumb, without social and emotional skills,” he said.

Although he was a computer expert, Johnston felt less secure in dealing with people. His time at the Summer Youth Theater gave him the confidence and skills he would need to perform one of the toughest jobs in the world: IT support. Information technology involves the use of computers to store and exchange all forms of electronic data. People like Johnston make up the support staff or IT help desk. They answer questions and troubleshoot hardware and software issues. In short, IT support is the person you call when you can’t figure out your computer, phone, printer, or other electronic device.

This job requires Johnston to be excellent at both understanding computers and people who don’t understand computers. When people with issues do eventually contact the help desk, they tend to be frustrated and out of breath.

At the Summer Youth Theater, Johnston learned to read scenes from plays. He extrapolated the skills needed to read a scene to read the emotional places people are in when they call him. In the theater, he learned to communicate clearly. He uses this skill to break down technical jargon at work. By working through the scenes with other actors, he learned to navigate emotional energy. With upset customers, he recognizes when people are having a bad day and he is able to project the good energy back. In short, Johnston learned to interact professionally without formal training outside of theater.

One of Johnston’s favorite times at the Opera was with the Summer Youth Theatre. After “aging out” the Summer Youth Theater program, he was asked to come back and help run the lights and do script readings for several years. In 2007, during the play “King of Rats”, he was invited back to the stage and received a five-year medallion for five years at the Summer Youth Theater. “It was a very emotional moment,” Johnston recalls.

Johnston’s history with the Opera runs deep on both sides of his family. Not only did his father Jay and Jay’s mother Faye attend the Opera, but Johnston’s mother Nanette (Leslie) Johnston also has strong ties to the Opera. On Leslie’s side, her mother, aunts and grandmother, Joyce, all contributed significantly to the history of the Opera.

Joyce Leslie, as one of the founding members of the Northland Players, helped revive the Opera House when it was condemned and ready for demolition in the 1970s. Joyce’s attachment to the Opera House was so grand that when she died aged 92 in 2016, her memorial service was held on stage. Johnston and his family attended the service. “It was deeply meaningful to me,” Johnston said.

Stewart Johnston is one of many young people from Cheboygan whose time at the Opera changed the course of their lives. He grew up in two families whose interest in the arts helped bring culture and the arts to Cheboygan. Next week, we will follow the journey of the Leslie family.

— Kathy King Johnson is the former Executive Director of the Cheboygan Opera House.

Kelsea Ballerini Drops Multiple Easter Eggs About Upcoming Album: ‘More Soon’

by Tiffany Goldstein

2 hours ago

Kelsea Ballerini has pulled a punch from Taylor Swift, as she drops Easter eggs on several ongoing projects.

The platinum-selling artist recently (July 10) held an impromptu Q&A on TikTok, answering questions about his fourth studio album. Ballerini’s fans have been craving new music ever since she released the single “HEARTFIRST.” Little Big Town’s breezy bop written by Karen Fairchild and Alysa Vanderheym served as the first look at her highly anticipated collection.

Curious social media users didn’t hold back and asked hard-hitting questions. Although Ballerini left several cliffhangers and snarky responses, she left fans with valuable information and a lot to look forward to.

Ballerini first confirmed that the collection was ready for release.

@kelseaballerini Reply to @aaliyah_stoker12 ♬ original sound – Kelsea Ballerini

“New albums to come? asked a follower. “I’ve been super hesitant to share anything before it’s super ready because things have changed so much over the past few years. But, it’s ready. So see you soon!” she declared with a beaming smile from ear to ear.

The chart-topping artist didn’t reveal the exact date or month, but gave a mysterious hint.

“It’s hard to say, but if I had to pick a month…um…yeah,” Ballerini said, zooming in on her gold Virgo horoscope necklace.

@kelseaballerini Reply to @iamstevenwayne ♬ original sound – Kelsea Ballerini

Ballerini identifies as a Virgo, as her birthday is September 12. The zodiac sign signifies the period between August 23 and September 22. Country music fans therefore assume the collection will arrive in late August or September – just in time to heal the summer blues.

One fan wondered whether or not the project would lean into more traditional country or flaunt his signature country-pop sound. The singer has previously mentioned that she channeled her favorite ’90s influences to cultivate the track.

“I will say the sound of this hypothetical record is definitely uh different from anything I’ve ever done. It’s heavily influenced by – I would say 90s music in general, but definitely 90s female country,” she explained.

@kelseaballerini Reply to @cowboylikerachel ♬ original sound – Kelsea Ballerini

The hitmaker went on to emphasize what it’s like to be a genre artist and the importance of staying true to yourself during the creative process.

“It’s interesting, I really liked walking that line and that balance between pop and country. I will definitely never apologize for that because I feel like that’s what’s true for me and what I listen to and what inspires me,” she expressed. “I know that some people get a kick out of it, and that’s okay. But I feel like you just have to be true to your heart and your art. I’ve always done that. This time it really takes me back to the countryside,” she added while admitting there will always be a “pop flavor.”

After guiding her TikTok followers through the vision and exotic images of the recently released “HEARTFIRST” music video, she confessed that a single could be coming sooner rather than later.

@kelseaballerini Reply to @madiibroooke ♬ original sound – Kelsea Ballerini

“Can we expect a new single soon? asked a listener. ” No no. Not yes, but not no. And not after this time next week,” she fired back.

Although Ballerini didn’t give a straight answer, country music fans could expect new music in the coming months, if not days.

NYE 2022 Countdown | Programming | Tickets | Schedule | Appointment


Countdown NYE 2022 is the annual New Year’s Eve blowout performed by Insomniac at the NOS Events Center in San Bernardino. It’s a rave with a storyline – aliens have returned to Raveland and officials have issued a public warning that they will attack the people of Raveland at midnight.

The scheduled NYE 2022 countdown date is December 31, 2022, if the festival continues on the same day, this usually happens. It’s an NYE festival, so it’s pretty sure to happen that day. Check back for updates!

Check back for updates on when Countdown NYE 2022 tickets go on sale! They are usually available in the GA Experience Pass and the VIP Enhanced Experience Pass; various shuttles and parking are also available. Click on the ticket section below for more details and to access tickets.

The NYE countdown lineup has yet to be announced. Click on the NYE 2022 countdown lineup section further below for a full list of those happening. Check back for updates.

The latest Countdown NYE lineup included REZZ, Flux Pavilion, deadmau5, Flosstradamus, Tiësto, NGHTMRE, Alan Walker, RL Grime, Audience, NGHTMRE, Subtronics, Test, Troyboi, A-Trak, Blunts & Blondes, Liquid Stranger, LSDream, and more. . You get house, trap, bass and more for a mind-blowing New Year’s Eve celebration to end your year on a high.

You can check out different stages like Mothership, Nebula, Area 51 (Bassrush) and Twilight Zone.

The NYE Countdown 2022 lineup and NYE Countdown 2022 tickets are below!

NYE 2022 Countdown tickets are not yet on sale. Check back for updates!

They are usually available in the GA Experience Pass and the VIP Enhanced Experience Pass; various shuttles and parking are also available.

What are you going to wear for Countdown NYE 2022? Head to our Spacelab Store for festival essentials! SHOP NOW >

NYE 2022 countdown will be like this

NYE 2022 Countdown Locations Map

Here’s the NYE countdown venue map of the latest event, it might give us some clues as to how the 2022 festival might be organized

NYE 2022 Countdown

Find out who is part of the Countdown NYE range SEE THE RANGE >

NYE 2022 Countdown

Aliens will invade NYE 2022 countdown to midnight

The NYE Countdown Calendar for 2022 will be posted here when announced.

The NYE countdown lineup for 2022 has yet to be announced. Check back for updates.

NYE Countdown Programming

The latest Countdown NYE lineup included REZZ, Flux Pavilion, deadmau5, Flosstradamus, Tiësto, NGHTMRE, Alan Walker, RL Grime, Audience, NGHTMRE, Subtronics, Test, Troyboi, A-Trak, Blunts & Blondes, Liquid Stranger, LSDream, and more. .

Panda Bear seems to be teasing that new music is coming soon


Panda Bear seems to be teasing that new music is coming soon.

  • READ MORE: Animal Collective – ‘Time Skiffs’ review: Adventurers are getting back on track

On Twitter, Animal Collective musician, real name Noah Lennox, shared a 13-second clip of what appears to be a new song, with the caption: “something [sic] coming round the bend…”, which is also the lyrics he sings in the teaser clip.

Panda Bear’s last album was 2019’s “Buoys”.

Check out the new music video here:

In April, Panda Bear shared a new track that was rejected by sleep and meditation app Calm.

The 17-minute song titled “Calm App (Rejected) – New Ambient Song” was shared by the musician via social media on April 11.

It was Panda Bear’s first solo release since collaborating with Los Angeles producer Maral on the track “On Your Way” last July.

In February, Animal Collective released their latest album “Time Skiffs”. The album marked the first time the quartet, consisting of Avey Tare, Panda Bear, Geologist and Deakin, had released a studio album in over half a decade.

In a four-star review of the record, NME said the band’s 11th album had “an overall sense of transcendence throughout” thanks to “its ornate pipe organs and priestly Beach Boys-style harmonies” and “abstract noises of brass and electronic detritus”.

The review went on to say, “On their 11th album, the band returns to the more-ish melodies of ‘Merriweather Post Pavilion’ and the hymn-like meditations of 2005’s ‘Feels’ for a happy collection.”

Animal Collective are planning to tour Ireland and the UK in November, with stops in Dublin, Bristol, Manchester and Glasgow. You can view ticket information here.

The sampler: Naima Bock, Hooray for Riff Raff, Jet Jaguar

Tony Stamp scours the pastoral folk of Naima Bock, a raucous pop lynchpin from Hurray to the Riff Raff, and new soundscapes courtesy of Wellington producer Jet Jaguar.

This audio is not downloadable due to copyright restrictions.

giant palm tree by Naima Bock

Photo: Provided

Naima Bock was once known as Naima Jelly, when she was a member of South London hit band Goat Girl, which she co-founded as a teenager. This outfit traffics in nervous post-punk, and Bock found herself exhausted by the analytical nature of it all, wanting to do something detached from politics and self-analysis.

There’s a reverie floating through his solo debut giant palm tree, about as far from punk as it gets. If anything, the focus is on slowing down. Artists respond to our planet’s various problems in various ways, and Bock’s response appears to be a happy surrender.

Around the time Naima Bock left Goat Girl, another musician from London called Joel Burton also left her band. He fell in love with guitars and studied classical piano, investing himself in experimental improvisation and orchestral music.

He and Bock became aware of each other and ended up collaborating on this album. Burton said, “I was doing a lot of things that were very diffuse, and Naima had all these songs that were fixed and could act as a really good anchor”.

Burton’s sense of when to intrude on Bock’s tiny bits is expertly judged, and the London lockdown became something of a blessing, as many of their friends were free to join them in the studio. Over 30 musicians contributed. Burton told The Quietus he asked himself “why not be as ambitious as possible?”

However, every contribution feels intentional, and it still comes across as a solo album, just an album that occasionally morphs into something more communal.

Bock was born in Scotland and spent her early childhood in Brazil. Her stepfather was a folk enthusiast and she developed a fascination with the standards of the genre, researching earlier interpretations as far back as possible.

His affinity for British folk is obvious, but sometimes elements of Brazilian genres like bossa nova can be found in his songs, such as on “Working”.

After leaving Goat Girl, she studied archeology and started working as a gardener, two things that seem very fitting – her music evokes a sense of history and a love of nature.

She wrote many songs about Giant Palm while taking long walks, which she talks about in the album’s PR, saying “there’s a stripping that takes place” as she heads to a “fixed” destination. but distant.

This tranquility and calmness of thought are apparent everywhere. Her distinctive voice acts as a solid barometer, while Joel Burton’s diverse contributions surge around her like gusts of hilltop wind.

life on earth by Hooray for the Riff Raff

Alynda Segarra

Photo: Provided

Many artists change their style, but they usually don’t change as much as Hurray did for the Riff Raff, who started his career doing folk Americana, and continued in that vein for a while, only to later switch to the electronic pop and rock modes. And it’s not just about changing producers and putting a fresh coat of paint on familiar songs, it’s about changing from scratch – new types of the song who often feels like a completely new artist. There’s a sense of liberation that runs through their latest album.

Hooray for the Riff Raff is the project of Alynda Segarra, who was born in the Bronx and moved to New Orleans after an adolescence of hopping freight trains and traveling across America – a The myth-making romantic bit that comes up in every profile of them, but Segarra admits they can barely remember it.

Their last album The browser explored their Puerto Rican heritage lyrically as well as musically. It colored their sound with new elements, but life on earth feels like a fresh start.

Segarra also changed as a person – they told Pitchfork that they were “trying to create a new path in [their] brain”. Reading interviews, they encourage people to consider this their first album, and there’s an overall feeling of becoming a new person, but not necessarily leaving the past behind.

On Wolves, they sing “You’ve got to run babe/ you know how to run” over an insistent drum loop. It’s an echo of their itinerant past, and through the album, that sense of flight is tied to the immigrant experience in America.

life on earththe overall philosophy of is specific, coming from Segarra’s reading of the 2017 militant text Emerging strategywho theorizes about “radical self-help and helping the planet”, viewing all life on earth as intertwined.

They hypothetically asked the Guardian “How do we stay present, how intensely do we feel the joy and not just the crushing weight of it all?” The album presents responses in the form of empathy. An example is “Jupiter’s Dance”, which they claim provides support for migrant children.

In 2019, Segarra visited ICE facilities in Louisiana (i.e. Immigration and Customs Enforcement). With the organization freedom for immigrants, they helped free two men from the compound. In the song “Precious Cargo”, they tell the story of a family of imprisoned migrants, before one of the men they helped joins them, telling his own story.

life on earth is a particularly heavy thing to call an album, but its substance justifies it. They’re not heavy songs though, they’re easy to digest and uplifting – Segarra has a voice with a wearyness that speaks of a difficult past, but their songs aim to be dynamic. Joy in the face of oppression is the whole idea.

At one point in the song “Nightqueen”, poet Ocean Vuong can be heard in a snippet that gives the album its title, saying “As a species, as life on Earth, we have been dying for millennia” , says Vuong. “But I don’t think the energy dies. It just transforms.

Ambient Tones by Jet Jaguar

Michael Upton aka Jet Jaguar

Michael Upton aka Jet Jaguar
Photo: provided

Many years ago, when I was studying music production, a tutor told me that he thought the future of music would be based on sound more than melody or harmony – he thought every possible combination of notes had been made, so the only progress left was in the area of ​​timbre and tone.

To look at music that way, as if it were a vast, partially unknown continent, is something I still consider, and I think time has partially vindicated it – songwriting is still developing. reinvent, but it is true that there are no more limits when it comes to sound design.

Wellington musician Michael Upton AKA Jet Jaguar has pitched his tent in this particular area. There are traces of melody to be found, but his music is mostly about creating new sound spaces.

His 1999 self-titled debut album was built around the fusion of hip hop, dub and electronic production, and is emblematic of a booming “New Zealand sound” that came with the necessary gear becoming more affordable.

In recent years his work has drifted into more abstract realms, focusing on real-world sounds, sometimes manipulated into something new, sometimes presented as they are. This new album Room tones signals a return to the structure.

His earlier release was Registrationand in the notes to it, Upton wrote that he sees his music as a diary. Registration was the culmination of his interest in ambient music – tracks revolved around a hum of apparatus, or thunder, with place names in some tracks, like “Vanuatu, With a Fridge” and “Storm in Lisboa”.

When I interviewed him in 2018, he told me about a frog pond recorded in Vietnam, and how he used his recordings as a starting point for composition. If they came from trips abroad years before, that was even better, because those sounds provided an unknown starting point. The tradition continues here on tracks like “Ōokayama Cats At Night”.

This is Jet Jaguar’s second release to be released on Shimmering Moods, an Amsterdam label. According to their website, they offer music that “provides the listener with a soundtrack for daydreaming, city or nature walks, creative activity, meditation, or invites them into fully focused listening.”

It certainly matches the music on Room tones. “Tonal Drift” sounds exactly like its name, built around a drone that gradually changes over its duration, seemingly simple yet carefully calibrated in its lush depth.

Michael Upton writes in the liner notes for this album: “In sound work for movies and so on, recording a ‘room tone’ is where you record the space where the action is going to happen, but during that nothing happens. I’m always interested in music where not much happens, so “Room Tones” made me laugh – a collection of recordings that are barely there but still serve a point? The name clicked.

As Michael says, not much is going on in this music – on the surface, of course. Listen closer and there’s a rich tapestry of detail on every track. The idea that this music reveals itself slowly seduces me, and on Room tonesas always, Jet Jaguar creates sonic spaces in which it is very pleasant to get lost.

Experimental Music Concert in Silver City Features Recorded Plant Sounds | Carson City Nevada News

Event date:

July 12, 2022 – 10:00 a.m.

Silver City, Nevada – Ever wondered what your garden vegetables or houseplants look like? Do they sound different from native Nevada plants like purple sage or marshmallow? You can find the answers to these questions at an experimental music concert on July 12 that will include plant music.

Silver City Summer Artist in Residence Brian Schorn is a visual artist as well as an experimental musician and graphic composer. He will join Nevada musician Mylo McCormick for a live concert on the Silver Pavilion Stage in Silver City City Park on Tuesday, July 12 from 10 a.m. to noon. Bring a lawn chair and enjoy the free show!

In addition to recorded plant sounds, McCormick and Schorn will use experimental electronics and looping guitar drones. The concert will be divided into eight improvisations/compositions of approximately 15 minutes with different instrument stations using a computer, electronic and electroacoustic devices.

PLANT MUSIC: Schorn, a Michigan-based artist who arrived in Silver City in early June, captured the biofeedback frequencies of some of the plants in the Silver City community garden, as well as houseplants in the program’s McCormick House of local resident artists for the concert. with McCormick.

Schorn has a hand-built Garden Listener module to read a plant’s bioelectrical impulses to produce sound, and he used it to record a Christmas cactus at McCormick House that was previously owned by the resident artist program benefactor. Fred Swanson. More precisely, the Garden Listener is a generator of random control messages from biometric signals. It detects variations in conductivity on the surface of living beings and transforms them into MIDI (Musical Instrument Device Interface) notes, ranging from C-1 to C-8, and CV (Control Voltage) signals (0 – 5V). Changes in conductivity are detected by the probes input and converted to MIDI notes in real time according to the main menu settings. Each MIDI note is output from the MIDI output, allowing the sound of any synthesizer equipped with a MIDI port or any virtual studio technology to be enjoyed in its digital audio workstation, and is converted into a signal analog.

Then, using a PlantWave handheld device, Schorn recorded vegetables and flowers in the Silver City community garden. The PlantWave detects slight electrical variations in a plant when electrodes are placed on the leaves or stems. These variations are graphically represented as a waveform, which is translated into pitch messages. The pitch messages are then assigned to various sound sources via a MIDI instrument which, ultimately, we hear as music.

ABOUT BRIAN SCHORN: Brian Schorn is a multidisciplinary artist who not only has a Master of Fine Arts (MFA) in Electronic Music and Recording Media, but also three other MFA degrees in Fine Art Photography, Graphic Design and creative writing. . His discography includes compilations categorized as radio art, drone music, field recording, experimental jazz, concrete music, and text and sound composition. His music has been played on radio stations around the world and his graphic composition Nebula premiered in London, England with a performance by the Aurora Orchestra. His solo album Text•ures and his collaborative album Body Bits with trombonist Jen Baker are both out on Cyclene Records. He studied musical composition with Pauline Oliveros, Alvin Curran and Fred Frith; as well as electronic music with Chris Brown and Maggie Payne. At Mills College where he earned his master’s degree in electronic music and recording media, Schorn performed with jazz legend Cecil Taylor, music video pioneer Steina Vasulka and psychoacoustic sound artist Maryanne Amacher.

ABOUT MYLO MCCORMICK: Mylo McCormick is a senior at UNR where he majored in literature and minored in philosophy with a major in ethics, law, and politics. He is also a multi-instrumentalist who has been performing in northern Nevada since he was 14 years old. Recognized for “Best Entertainment in Rural Nevada” by Nevada Magazine in 2019, he performs with the groups Mo’z Motley Blues, Moxy Ruckus and the Mylo. McCormick Project and as a solo performer in venues across the region. He can be found performing most weekends in Reno, Virginia City, Tahoe, Carson City, and more. He will be with Moxy Ruckus on the main stage in Reno during Street Vibrations in September. McCormick notes that he “tries not to get trapped” into a particular musical genre.

SPONSORS: The free concert is co-sponsored by the Silver City Artist-in-Residence Program and the Healthy Communities Coalition of Lyon and Storey Counties as part of Healthy Communities’ annual STEM + Arts = STEAM summer program.

LOCATION: The Silver Pavilion Stage is located in Silver City City Park at 385 High Street, Silver City, Nevada 89428. Silver City is located in a National Historic Site on the Comstock, 3 miles south of Virginia City, 50 km from Reno and Tahoe, and 11 miles from Carson City.

CONTACT: For more information about the Artist-in-Residence program and the July 12 concert, contact Quest Lakes at [email protected]

Dance into the weekend with Ravell’s Summer Heaters

Ravell just dropped his latest track, “Baila,” and is getting everyone into the groove this summer with a curated playlist full of radiators!

If there’s one performer in the scene who knows how to light up crowds with a dose of Latin flair, it’s fine. Ravell. This LA-based DJ and producer has made a name for himself over the years with releases that have landed on Arkade and Blossom Musicand his sets at festivals like Hardness were also filled with a lot of energy.

Late last year, Ravell embarked on his latest mission to the scene by launching his own brand centered on blending the realms of Latin music and dance, Kazaa Foldersand releases his first single “Siento.” This track featured a booming house bass beat with guitar strings and other Latin elements layered in for good measure to make it really pop. Now he’s turned the page on the imprint’s second chapter with his second single which arrived just in time for those summer beach parties – “Baila.”

While “Siento” only featured a touch of Latin flair, “Baila” really brings it to the fore with its vibrant beat, perfectly placed horns, looping Spanish vocals, and drop that will have you shaking your booty at the same time. time. This one is sure to ignite any dance floor it plays out on all summer long. To celebrate its release, Ravell curated a few artist tracks, including Gianni Blu, Satellite DJ and Cubism, RED RIBBONand Cookies that will rock you deep into the night.

So hit play on Ravell’s Summer Heaters playlist on Spotify and get dancing. And don’t forget to download or stream “Baila” on your favorite platform!

Stream Ravell’s Summer Heaters Playlist on Spotify:

Ravell’s Summer Heaters Playlist – Tracklist:

  1. Ravell-Baila
  2. Gianni Blu – Una Cancion
  3. HÜGEL; Quarter head – Fever
  4. Carolina; PAPA – Amor e Outras Drogas (Remix)
  5. Mathias D.; Anderva – El Jefe
  6. David Tort; Market; Cato Anaya; Chipi Chacon – Te Quiero feat. Chipi Chacon
  7. Satellite DJ; Cubismo – Morenita – Original Blend
  8. Robby East; Martina Camargo – Guate
  9. REDTAPE – Veneno
  10. Cookies – Locco
  11. Dubdogz; Marianne BO; Flakke; LUISAH – Drop It (feat. LUISAH)
  12. Tom Swoon – Shingaling
  13. The boy next door; Fresh coast; Jody Bernal – La Colegiala (feat. Jody Bernal)
  14. Beowülf – Kulikitaka – Remix
  15. David Tort; Market; Yas Cepeda; Ella Loponte – Strangers (feat. Ella Loponte)
Ravell Baila

Follow Ravell on social media:

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 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 story, 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.

Channeling a Dreamy Vibe – The New Indian Express


Express press service

Becoming a singer was pure chance for Akhil Sahni. Singer-songwriter Sahni started learning the electronic keyboard at the age of eight, then began learning classical piano at the age of ten – he always believed he would eventually become a composer of film music or contemporary music.

However, during a live performance, a friend forced Sahni (then 16) to sing on stage. “That’s when I thought, ‘It’s not that bad actually,'” said the musician, who currently commutes between Delhi, Gurugram and London.

After two guitar-driven singles – 1368 and On My Birthday – Sahni’s latest release, Dream is a song about “being lost in a world of visuals with a loved one”. Speaking of this piece, Sahni adds: “I am fascinated by the dream; it’s just the most beautiful concept ever. Humans still haven’t understood why we dream and why these amazing stories come to us at night. I wanted to express that through song. In this interview, we talk to the 19-year-old artist about his musical influences, how he got started writing songs, and more.


Tell us about your first musical influences. Also, how has that changed now?
My musical influences have always been the same; just more [influences] keep adding to it. Growing up, one of my first idols was [German film score composer] Hans Zimmer. Then there’s Ed Sheeran, John Mayer, Coldplay, JP Saxe.

Did you go from singer to songwriter?
I’ve been playing classical piano all my life and always thought I would become a film score composer or a contemporary music composer. But that changed when I was 16 [after the live performance]. Later, I realized that I wanted to sing the songs that I do; I don’t want others to sing my stories. I am a self-taught singer; I’ve only been singing for two or three years. I picked up the guitar and started writing a lot of music instead of [composing on] the classical piano. And this trip took its turn. A songwriter is what I am in my truest sense and what I want to be, so it’s amazing that I’ve found that.

1368 and On My Birthday mainly feature the guitar. How did Dream become a piano ballad?
Whenever I wrote songs on the piano, I complicated things. So I made a vow to write on the guitar; I could focus more on melodies, lyrics, tone, etc. And the instrumental will be simple because I can’t complicate it, even if I wanted to.

Slowly, over time, I learned to make the piano a friend. The dream is that sweet spot that I hit with my first real piano song. Also, he [making Dream] was just the best experience ever. It is a simple sound but also has its complex elements; I think it’s my best song to date. You can never go wrong with a piano ballad.

And after?
Many languages, styles, stories, different productions. There’s a Hindi EP – with three or four songs – that I’m working on with one of my best friends. I’m incredibly excited for the future.

Akhil Sahni’s ‘Dream’ is streaming on all major platforms.

RIP Dave Smith, the godfather of MIDI

Music technologist, inventor and synthesizer creator Dave Smith passed away on May 31, 2022. His innovations will continue to shape music for years to come.

by Michael Gallant from the record creators blog

You may not know Dave Smith’s name, but you’ve certainly heard echoes of his work. It’s safe to say that rock, pop, electronic music, hip hop, R&B and so many other current genres wouldn’t exist as we know them without his contributions.

Dave was a brilliant genius who developed the Prophet family of synthesizers in the late 1970s; they are the first fully programmable synths that allow keyboard players to play multiple notes at the same time. The revolutionary Prophet-5 was used on Michael Jackson Thriller, of Madonna like a virgin, by Pierre-Gabriel So, movie soundtracks including The Terminator and blade runner, and so many other emblematic projects.

Perhaps most importantly, Dave worked with fellow music technology engineer Ikutaro Kakehashi to pioneer Musical Instrument Digital Interface (MIDI) – which, if you’re not familiar with, is the fundamental digital protocol that enables electronic instruments and software to communicate with each other. softly and powerfully.

The impact of MIDI on popular music

It’s hard to overstate how profoundly MIDI shapes the making of popular music. Every radio hit that uses virtual instrument sounds, every track programmed via Apple Logic or Ableton Live, the biggest dance floor mega-hits sequenced for propulsive impact – all are fundamentally built on the technology that Smith helped create.

Mario J McNulty is a Grammy Award-winning producer and engineer who has worked with David Bowie and Lou Reed. Here’s what he had to say about Dave’s impact on decades of popular music:

Dave Smith’s contributions, in more than one singular way, completely altered the sound of records, and his impact continues to this day. I can’t even imagine what life would be like without that Prophet sound in the most legendary music of all time. Dave’s work with MIDI changed music production forever. He was a genius.

New York producer and engineer Josh Giunta, who recently won a Grammy Award for his work with Taylor Eigsti, also affirmed the impact of Dave’s innovations:

MIDI is so essential and ubiquitous in modern production that many of us find it hard to imagine making music without it. MIDI was such a fork in the road. Its foundation allowed the construction of castles on it.

A prolific inventor of music

Dave was a mainstay in the music tech community and a mainstay at the National Association of Music Merchants conventions, where I had the privilege of meeting him for the first time. Even when I was just beginning my youth career Keyboard magazine writer, I remember him showing me the same warmth, kindness, and respect he shared with industry veterans he’d known for decades.

My old Keyboard The magazine’s editor, Ernie Rideout, shared a rich history with Dave and remembered him as follows:

Dave Smith was as much a part of the early days of Keyboard magazine like Chick Corea, Herbie Hancock and Keith Emerson. He brought the Model 800 sequencer, one of the first products he ever made, to show off founding editors Tom Darter and Dominic Milano. Subsequently, Tom and Dominic each purchased a Prophet-5 when Dave introduced this legendary synthesizer in 1978. Almost every artist I interviewed forKeyboard seemed to have a Sequential Circuits instrument in their rig.

When Dave planned to make hardware synths again in 2002, he approached me to ask if we would be interested in covering his new instruments. Although I had been privileged to hang out with Dave many times before – I was always in awe of his intellect, but equally impressed by his warmth, humor and humanity – I was humbled, floored and excited. all at once time. He was one of music’s most prolific inventors, whose products made the world of modern music production possible, and he wanted to talk to me.

Without Dave’s many contributions to music, it’s unlikely there would have even been a Keyboard the magazine’s editorial team to join.

The next time you sequence a drum groove, play on a software synthesizer, listen to music with electronic production, or hear the inescapable sound of the Prophet, take a moment to remember Dave and the creative gifts he gave us. all brought. To learn more about his legacy, visit www.sequential.com/about.

rock rewind

Michael Gallant is a musician, writer and entrepreneur living in New York. His first album for the Steinway & Sons label, rock rewind, features solo piano reimaginings of Pearl Jam, U2, Halestorm, Janis Joplin, Bob Dylan, Radiohead, and more. Read his recent article for the National Endowment for the Arts and follow Michael on Twitter at @Michael_Gallant and Facebook.com/GallantMusic.

“It’s All About the Rhythm Section”: The Beautiful Collision of Duran Duran and Erol Alkan – Features

JT, what does Ibiza mean to you?

JT: “I never really understood it at the time and didn’t get into that ‘Balearic Briton’, but during our conversation at IMS it reminded me of when Roger Taylor left the band. I learned to play with Roger. We have a great rhythm section. But when we got together for the band reunion after 16 years, I found what we were referring to were the Ibiza compilations. Everything was programmed but the ideas of the rhythm section were all very relevant: you know, that’s what we do! So we borrowed a lot from the dance scene in Ibiza at that time.

Erol, you don’t have a traditional route to Ibiza either?

Erol: “Coming from an alternative background, I was a bit anti-Ibiza because I had seen Ibiza discovery and the hedonistic side. I didn’t log in to this and was pretty apprehensive about playing here. It was maybe as late as 2007 or 2008, after years and years of offers that a friend convinced me to play Space and it felt in tune with the electronic music I’m into. was at that time. I saw why people loved it then! I saw the positives and have been coming ever since. To be here now, at this point with these guys, is a looping moment for me.

It’s so great to hear you’ve heard some of Erol’s classic DJ mixes – like this Mixmag Mix ‘DJ of the year’?

JT: “I had also heard his Bugged Out mixes! I love how Erol approached the sound on our new album. Sometimes it feels like you’re at odds with technology, but there was none of that click track on this album. His level of sound care is so good. For me, the amount of patience it took to get the bass to sound perfect was amazing. I need someone like that in the room. I’m more of a first take guy. He was pushing and for me and Roger there is an energy level that has to be low in that first layer. ‘Cause everyone’s gonna listen to those bass and drum tracks for years – it’s all about that rhythm section. So it has to be locked down, it has to be interesting and it has to have energy. We worked hard, didn’t we?

Erol Alkan: “The rhythm section, it’s all about that. If it’s not in drums and bass, then it’s not there at all, so it has to be organized. At first we seek out that seed, then we refine it until it’s good, and that’s a process. What can happen is that you hear something in your head, which then has to exist sonically for it to be heard. On ‘Hammerhead’, you could hear it coming, like a tsunami in the distance. You have to be focused to constrain it, be patient until the moment comes and the whole room hears it, and when they do, you’ll witness the whole room lift! We relied on our instincts and senses to find the parts that suited us.

Duran has always had great mixes, from Shep Pettibone on “I Don’t Want Your Love” to Nile Rodgers on “The Reflex” and now Erol’s mix on “All Of You”.

JT: “At the time, the most curated dance music was around ’77 and ’78 and [that was when] dance music stretched. You had bass and drums and that sensitivity has always been part of Duran Duran’s DNA. Erol perfectly understands how exciting a bass and drums can be for nine minutes. But then you have to put it back in the bottle. I like music like that. And I can listen to music like that all night.

Read this next: Keeping Kids Dancing: 10 of Erol Alkan’s Best Edits

Erol, we have to push eight or nine minutes with this remix?

Erol: “It’s about ten minutes!”

JT: “I love that psychedelic, hypnotic quality of good dance music or reggae. The remix was something to showcase the different elements of Duran Duran. is easy. In the 1980s. there were a lot of remixes. But what I heard here is that the remix had absolute faith and trust in the parts. I know the parts are good because we spent six months getting it right! It was really about deconstructing the arrangement and making it a journey and that was wonderful to hear.

Erol: “I was thinking about the Night Versions, the 12″ cuts and François K’s approach to the dub versions…”

JT: “We are never far from the dance floor! I don’t live in clubs but I still think, I’d like to dance to that. You wouldn’t have to search so far on the latest albums to get a version that can bring the song to the ground. But it’s like anything. To do it well, it takes a lot of talent. Duran Duran is about a bassist, vocalist, keyboardist and drummer – Erol gets that.

What was your goal when you decided to remix ‘All Of You’? To do something you could play or something else/something more?

Erol: “I had this version of ‘All Of You’ in my head even when we were recording the album version! I knew he had the ingredients to make a good dancefloor cut and wanted to create a version that felt like a trip that could be used by DJs who might recognize him. The art of the 12″ long version has turned into a lot of different things: but there’s something so pure about the sound of a band performing it, rather than a producer. My involvement was fuzzy between being in the band and the producer, and the compass was pointing to the band’s own nighttime releases from the early 1980s, which are some of my favorite extended releases The fact that the band and the DJs liked it made me good, I’m really happy with how it went.

Erol, to wrap up, we’ve already discussed JT’s brilliant autobiography “In The Pleasure Groove” and I just read it again. I was wondering what was your main takeaway from the book?

Erol: “I really loved John even before we met. His book was revelatory to the point where I could relate to a lot of his experiences. I obviously wasn’t the bass player in the biggest band in the world, but there’s a lot of things he talked about that felt relevant to anyone in the creative world and how hard it can be sometimes I found him inspiring.

Finally, would you like to work with Duran Duran again?

Erol: “I had a rule that I would only work once with a band, but that disappeared with Ride, so who knows! It will depend on what kind of record the band is looking to make in the future and they might want to try someone new or we’ll pick up where we left off, I never consider myself entitled to be a part of of something. Collaborating with others is a nice collision on its own and I never consider it something like a career change. »

Duran Duran will headline London’s BST Hyde Park on July 10. Tickets are available at www.duranduran.com/tour.

Ralph Moore is the Music Director of Mixmag, follow him on Twitter

Remortgaging offers a lifeline for debt consolidation

“The cost of living crisis represents an opportunity for brokers to reconnect with clients and understand the challenges they may be facing in their finances.”

As this unprecedented price inflation begins to bite deeper, there are fears that soaring energy, fuel and food costs will push more and more people into a spiral of debt as the global crisis continues. cost of living is getting worse.

We may have rays of sunshine to enjoy over the summer, but as the UK economy struggles to find post-Covid footing and alienated workers vote for sector strikes, it is not surprising that there are echoes of the winter of discontent of 1978-79. ‘ in the air.

This has led many to wonder how the loan market will react.

In 2014, the Financial Conduct Authority introduced stricter lending criteria following the financial crisis. This led to increased spending control in loan applications, in addition to a stress test which meant that borrowers had to be able to repay their mortgages in the event of a 3% increase in interest rates. interest.

This meticulous analysis of an individual’s financial expenditure seems to be changing, however, with the Bank of England recently announcing the removal of this affordability guideline.
This relaxation of mortgage underwriting criteria will undoubtedly provide some relief to borrowers whose affordability has been negatively affected by the cost of living crisis. Lenders too are doing their part to understand a consumer’s changing priorities and to help ease the pressure on the pockets of overstretched consumers.

This shift in priorities is brutal.

Previously, what we saw in the remortgage space was interest in accessing vacation home financing or home improvements to increase space. Now we are seeing an increase in remortgage requests for debt consolidation or tax bills.

The importance of being a proactive broker

The cost of living crisis represents an opportunity for brokers to reconnect with clients and understand the challenges they may be facing in their finances.

With household budgets tighter than ever, many people will look to remortgage if they are struggling to repay. It is therefore crucial that advisors be proactive in signaling how they can support new and existing clients.

For those nearing the end of a fixed rate agreement, it’s a good idea to conduct a home finance review to see if there are ways to better manage costs in the five months leading up to the end of your term. OK.

By securing a good product, struggling borrowers are offered a vital lifeline to consolidate debt and raise capital, while reducing their monthly interest payments and gaining greater budgetary control over their monthly finances.

How specialists can help you

It’s clear to see why 2022 has been coined the year of the mortgage.

In cases where borrowers have been hit by adverse credit during the pandemic, working with a specialist can pay dividends.

For example, if household income or circumstances have changed, a client may find it difficult to remortgage with another traditional lender.

Moreover, the market is a sea of ​​changing criteria, often shifting like the tides, making it difficult for brokers to keep up and get the best rates.

A specialist has broad product visibility and will scan the entire market for you, helping you navigate sometimes complex criteria, and giving you access to exclusive or semi-exclusive products with the UK’s top specialist lenders.

It’s that expert advice and leverage in the marketplace that makes working with a specialist a game-changer – and who wouldn’t want the extra driving force behind a case’s completion.

Debt Consolidation Market Will See Amazing Growth By 2031 – Designer Women

How about a well-documented study on the Debt Consolidation which includes an in-depth examination of the different models, programs and assets that could cause a paradigm shift in the rate of growth? It’s a reality. Based on the latest changes in debt consolidation, Market Reports is the answer to all your questions! During the forecast era, the study provides a detailed overview of the most profitable opportunities around the various segments in terms of revenue and volume. By focusing on different criteria such as drivers, restraints, obstacles, opportunities and the evaluation of the competitive environment, the study with the analysis of the target has the potential to shape the heart of the performance of organizations.

The volatile COVID-19 pandemic has reduced revenues in a variety of industries around the world. It wreaked havoc on the economy and caused unprecedented losses. Policy makers, economic players and debt consolidation participants are trying to tackle the deadly pandemic of economic failure as the planet continues to grapple with the COVID-19 pandemic. Debt Consolidation stakeholders have taken commendable steps by implementing effective plans, making quick decisions and revamping the entire market framework. They are now able to sustain their businesses as a result of this.

Market Reports has been used to paint the development colors on the canvas of businesses impacted by COVID-19. With near-perfect visualization and in-depth knowledge retrieval, Market Reports provides comprehensive and informative Debt Consolidation analysis. When the study is coupled with realistic implementation by debt consolidation players, they will undoubtedly light the lamp of progress.

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The research also examines the effect of many government policies around the world on debt consolidation. The study also includes regulatory approvals and regulations specific to debt consolidation, allowing key stakeholders to adapt their business practices accordingly. Revolutionary developments in debt consolidation that have the ability to alter the competitive environment are also highlighted in the study. The article becomes a knight in shining armor for major debt consolidation stakeholders by emphasizing these aspects.

Top Key Players Included in Debt Consolidation Market Are: Goldman Sachs, OneMain Financial, Discover Personal Loans, Lending Club, Payoff, Freedom Debt Relief, National Debt Relief, Rescue One Financial, ClearOne Advantage, New Era Debt Solutions, Pacific Debt, Accredited Debt Relief, CuraDebt Systems, Guardian Debt Relief, Dette Trading Services, Premier Debt Help, Oak View Law Group

Segmentation by Product TypeCredit Card DebtStudent Loan DebtMedical BillApartment LeasesIndustrial SegmentationBusinessIndividual

What sets Market Reports apart from the rest?

A 360 degree research mechanism is used by Market Reports. The study was developed specifically to assess the effect of COVID-19 on debt consolidation. This mechanism reflects on almost every aspect in a systematic way to produce the best research report for the business stakeholders.

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The Market Reports report analyzes every little detail that could prove to be a driving force in the development of debt consolidation, which makes it unique and distinct from other studies.

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Overcome: the study examines the points which can prove to be the Achilles heel of debt consolidations and helps in the development of strategies to overcome the obstacles which can hinder the Debt consolidation progress.

Leverage: Debt consolidation will help you take advantage of things that can help you maximize your rate of growth. It’s a reality. All the points that major stakeholders need to rely on are covered by Market Reports.

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Last but not least, this feature helps the major stakeholder to remove all the hurdles that hinder the rate of growth and debt consolidation.

Regional outlook:

At the regional level, the world Debt Consolidation The market is segmented into North America, Europe, Asia-Pacific, Latin America, and Middle East & Africa. In addition, market data classification and region to country analysis are covered in the market research report. Additionally, regions are separated into country and region groups:

– North America (USA and Canada)

– Europe (Germany, UK, France, Italy, Spain, Russia and rest of Europe)

– Asia-Pacific (China, India, Japan, South Korea, Indonesia, Taiwan, Australia, New Zealand and rest of Asia-Pacific)

– Latin America (Brazil, Mexico and rest of Latin America)

– Middle East and Africa (GCC (Saudi Arabia, United Arab Emirates, Bahrain, Kuwait, Qatar, Oman), North Africa, South Africa and Rest of Middle East and Africa)

Buy the full report @ marketreports.info/checkout?buynow=71072/Debt-Consolidation

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Our dedicated in-house team ensures that reports meet client requirements. We aim to provide valuable service to our customers. Our reports are based on extensive industry coverage and ensure that we focus on the specific needs of our clients. The main idea is to enable our customers to make an informed decision, keeping them and ourselves informed of the latest market trends.

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Tiny Desk Concert (house): NPR

Watching FKJ build a song is like watching him play a game of musical tetris. One second he’s extracting a raucous beat from a drum set – the next he’s clambering over instruments to get to the mic before the beat begins.

The process might make you want to tape your eyes open. It’s not Live Production 101, and FKJ (short for French Kiwi Juice, Vincent Fenton’s stage name) isn’t there to explain his genius. The French producer and multi-instrumentalist is perhaps best known for his help on Masego’s sultry, upbeat “Tadow,” but there are only vestiges of that energy left here. It’s new jazz: a synthetic spectacle that is a feast for the ears and the eyes.

It feels – and Fenton confirms this – that he could spend all day tinkering in his studio. There’s an ease to his movements as he grabs his guitar adding wah-wah sounds to his bassline on “IHM,” and something very relatable about how even the cameraman struggles to keep up with his movements, sending Fenton in and out of focus.

Sometimes he winces (of effort or ecstasy, who knows) when he’s just plucking a string. And you might be similarly moved. This has all the thrills of ASMR with all the emotive joy of a warehouse electronic party. Maybe you’ll even feel what I did when the music ended – a silence so big, so full, you’ll want to tear down the screen and dance through the jungle with it.


  • “New life”
  • “TUI”
  • “Improvised Jam Sesh”
  • “HMI”
  • “Ylang ylang”


  • FKJ: vocals, electronics, guitar, keyboards


  • Video: Terence Ver Angsioco
  • Audio: FKJ


  • Producer: Abby O’Neill
  • Video editor: Joshua Bryant
  • Audio mastering: Josh Rogosin
  • Small production team: Bob Boilen, Bobby Carter, Kara Frame, Michael Zamora, Maia Stern, Ashley Pointer
  • Vice President, Visuals and Music: Keith Jenkins
  • Senior Vice President, Programming: Anya Grundmann

The genius of… Scum by Napalm Death | Guitare.com


Angry guitar music fans of all persuasions are spoiled for choice these days: For every precise blend of percentage of hard rock swagger, heavy metal bombshell and anarcho-punk sensibilities, you’ll find a subgenre to do the trick. But in 1987, that wasn’t the case: the stages were more compartmentalized, and when bands like Napalm Death broke through those walls with proverbial bulldozers, the resulting violent clashes between metal and hardcore punk created the instant classic. Foam. In the process, the band codified grindcore, laying the groundwork for a hell of a lot of angry music.

If you only have a passing interest in heavier music, you might think the last thing an album called Foam by a band called Napalm Death would raise some interesting philosophical questions, but it does. These are three of them:

How many group members can you replace and still have the same group?
How angry should we be at the death and destruction caused in the name of capital gains?

How short can a “song” be?

Foam also provides some answers. They are respectively:

  • Everyone except the drummer.
  • Very angry indeed.
  • 1.316 seconds.

Let’s address the first question first. Napalm Death Lineup Changes Almost Entirely From Side A To Side Ssperm to Side B: Only drummer Mick Harris remained on the entire album, and he would leave the band in 1991, making ND a very loud crash course in the Ship Of Theseus issue. But the range of revolving doors from Foam is also a who’s who of British extreme music: Side A features the guitar work of Justin Broadrick, who would go on to pioneer industrial metal in Godflesh, and experimental electronic metal in Jesu. The B-side has the vocals of Lee Dorrian, who would later found doom legends Cathedral, and the guitar of Bill Steer of Carcass, themselves a band of monumental influence.

But putting aside the list of members for a moment, let’s hear what Foam actually sounds like. The album begins with the positively relaxed Multi-national companies – a crescendo of feedback building, rumbling bass and crashing cymbals under a shouted vocal chorus of “Multinational Corporations / Genocide of the Hungry Nations”. Although this sets the lyrical mood, it’s not until the second track, Survival instinctthings kick into high gear, where they will stay for the next 30 minutes.

There’s a chugging riff from Broadrick that wouldn’t be too out of place on a Black Flag record, soon joined by an equally appropriate skank beat from Harris. But then – it all gets a little crazy. Harris launches into a relentless blastbeat as Side A vocalist and bassist Nik Napalm begins a guttural rant. It’s hardcore punk turned up to 11, sacrificing absolutely none of the life-blooding, angry energy that previous bands like Discharge and GBH embodied in the name of heaviness. In a nutshell: it’s grindcore. Arguably, the earliest example of it, and some even cite Harris as coining the term.

From there, the album is essentially a brick wall of sound. The change in line-up between the two parts doesn’t exactly revolutionize the sound, track 13 onwards and it’s still intense grindcore fare. But on the second half of the album, the songs begin to break out of the hardcore punk structures, becoming (somehow) even more free and chaotic – embracing louder, more experimental sounds alongside wall-to-wall hardcore.

The sound of the grind

Foam sounds like its title would imply. The bass guitar sounds of Nik Napalm and Jim Whitely are absolutely dirty, and Broadrick’s and Steer’s guitars are both drenched in a similar amount of tar-thick distortion, often being left to blare feedback screeches between blasts of riffs.

In all, there are buckets of more gain on Foam than on previous hardcore punk records: GBH and Exploited’s spiky overdrive guitars sound like Mayer-esque cleans by comparison. Foam also stands out from the heavier ones metal of the time, whose guitar tones shifted towards brighter, more cutting and scooped sounds. Tones on Foam are neither: there are many mediums, but there are also many everything.

Plus, the whole production aesthetic is so crude that it’s hard to tell which distortion is coming from the amps and pedals, and which is coming from the mixer. But despite the fact that everything is in the red, Foam is a pretty impressive feat of engineering: in all the sonic chaos, there’s a relative amount of instrument separation, and guitar and bass transients cut through the constant blastbeats and cymbals. Yes, it’s not exactly something to test out an audiophile headphone, but that’s clearly not the intention of the band.

There’s little information available on how the actual sounds were achieved, but if you’re looking for a similar sonic aesthetic, you’ll get one with amps and stompboxes of the hairy, fuzzy, and fuzzy sonic persuasions. ugly. A toned-down Marshall amp and drive pedals like the Boss FZ-2 and HM-2 with most knobs all the way up will put you right on target.

Anarchy in the UK

With few exceptions, British punk has always been more explicitly political than its counterpart across the Atlantic. But before Foam, the most popular examples were much less direct: at best personal and eloquent, at worst vague and superficial. In both cases, British punk mostly expressed a somewhat nihilistic sentiment. “No future”, etc. Conversely Foam is anything but nihilistic, despite the violent and striking images. The main question in the dossier is: “Isn’t human life worth Somethingsomething more than just profit? »

And unlike the prepackaged anarchy of the Sex Pistols, Foam posits that the real fascist regime in the UK is more insidious and complex than can be summed up by half-baked anti-monarchy sentiment. FoamAnarchy rages against every supermarket, every McDonalds burger, every drop of gasoline – and the human and animal suffering that led to their creation. The results of unfettered and ruthless free market capitalism that was championed by everyone’s favorite Prime Minister. It’s refreshing and precise – you don’t have time to be vague when your songs are so short.

And on the subject of brevity, it’s now time to tackle the album’s most famous track: you suffer. A single blast of bass, drums, guitars and vocals, it’s an enduring part of Napalm Death’s legacy (they still perform it live to this day), and the ultimate example of their blunt en as writing hammer lyrics:

“You suffer, but why?

Four words and 1.316 seconds and they’ve said all they need to say.

Death by Napalm
Death by Napalm. Image: Martyn Goodacre


At the end of the day, Foam has lasting appeal, not just because it’s half an hour of excellent, intense grindcore riffing (though that’s part of it), but because the anger which drives it is not really out of fashion. Half an hour’s worth of furious riffs and lyrics reflects anger at the soul- and planet-destroying consequences of endless corporate growth, led by a free-market-loving Conservative government. Suffice it to say, this won’t be unimportant anytime soon. Political music can age like milk (especially if the people involved in making it, say, team up with Disney), but Foam doesn’t.

info box

Death by Napalm, Foam (Ear, 1987)


Side A (tracks 1-12)

  • Nik Napalm – vocals, bass
  • Justin Broadrick – guitar, vocals (“Polluted Minds”)
  • Mick Harris – drums

Side B (tracks 13-28)

  • Lee Dorrian – vocals
  • Jim Whitely – bass
  • Bill Steer – guitar
  • Mick Harris – drums, vocals

Outstanding Guitar Moment


For more reviews, click here.

Buzzing indie label’s frequency breaks new ground in electronic music and beyond

Driven by an artist-driven approach, as well as foundations rooted in the community, Dutch label Frequency is establishing itself as one of the most exciting indie imprints to follow.

Founded by Kelvin Ruijters in 2013, Frequency is approaching its 10th anniversary with a host of exciting activations and projects on the horizon. When the brand was first launched, Ruijters noticed a lack of availability of royalty-free music online. In order to help solve this tangible problem for content creators around the world, he started organizing the YouTube channel Frequency, a venture that organically led to the launch of two imprints – Frequency Music and Frequency Recordings – a branch editing, as well as tens of millions of streams.

With its innovative marketing campaigns and maximum focus on artist development, Frequency quickly began to find success with its releases, helping to launch the careers of some of dance music’s most up-and-coming talent. One of the label’s early success stories became Swedish pioneer Arc North, which amassed tens of millions of global streams and 1 million followers on TikTok, among other impressive achievements. Frequency’s journey to becoming a leader in the independent record label space was just beginning, with Rival, Cadmium and Jon Becker quickly following suit, enjoying their first success on the platform and going on to successful careers. .

Frequency’s mantra is “explore, create and share music together » worldwide. Not limited by genres or sounds, the company split into two parts in 2021, with Frequency Music primarily releasing electronic dance music, and Frequency Recordings catering to singers and songwriters looking to grow their brand. and their career thanks to a long-term partner label.

One of Frequency Recordings’ early successes was led by the tracks of Scottish prodigy Euan Allison, whose acoustic influences and intimate songwriting style caught the attention of Spotify curators and were featured on a slew of editorial reading lists.

With Frequency Publishing, the company’s publishing arm, launching this year, as well as presentations at several conferences at leading festivals such as ADE and Dancefair, Frequency is just getting started. Establishing the model for how an independent label will operate and grow, Frequency has set big goals for the rest of 2022 and beyond, always aiming to foster the community, champion good music, and continually strive to add value and inspire.

What is debt consolidation and how does it work?

Debt Consolidation Loan Application
If your debts continue to climb, you may want to consider debt consolidation to help you get everything under control.

/Getty Pictures

If you’re in mounting debt, you’re probably not alone. According recent data from Experian, Americans had an average debt balance of $96,371 in 2021, a 3.9% spike from a year earlier. This figure includes credit card debt, loans and other types of debt.

If you feel overwhelmed with debt, now is the time to take steps to pay it off quickly. There are several online tools that can help you get back on track in a timely manner.

One method is debt consolidation, which allows you to combine multiple debt balances into one account, ideally with a lower interest rate. This way, you can potentially save money on interest, lower your monthly payments, and pay off your debt faster.

Let’s take a closer look at debt consolidation, how it works and how it can help you save money.

What is debt consolidation?

Debt consolidation offers a simple way to tackle debt by consolidating multiple debt accounts into one account, usually a consolidation loan. You can consolidate student loans, credit card debt, unsecured personal loans and other accounts.

To learn more about debt consolidation loans, go to an online marketplace to compare the loan options available to you and determine which one suits your needs.

Not sure if debt consolidation is right for you? Here is a breakdown of the different reasons you might consider consolidating your debt:

  • Simply your finances: The average cardholder has four credit cards, according to Debt.org. Debt consolidation makes it easier to manage your finances by replacing multiple debt accounts with one account, interest rate and monthly payment.

  • Lower your interest rate: Federal Reserve data shows that the average credit card interest rate in 2022 is around 16%, however, cardholders with high debt could pay 20% to 30 % interest or more. In contrast, interest on a debt consolidation loan ranges between 6% and 20% depending on your credit, reports Debt.org. With a reliable income and a good credit score, you may qualify for a consolidation loan with a reduced interest rate, which could lower your monthly payment and shorten your repayment time.

  • Accelerate your repayment schedule: If you qualify, debt consolidation could lower your interest rates while potentially cutting your repayment schedule by several months.

If you’re not sure what range in which your credit score falls, consider filling out an online form – after all, a good or excellent credit score can make a significant difference to you financially. If you are stuck in the mediocre or acceptable range, there is some steps you can take to improve your score.

How does debt consolidation work?

Typically, when you consolidate your debt, you get one big loan that covers all of your combined debt from your other loans and your credit card debt. As a result, you only have to make one payment instead of several. Sounds simple, right?

Keep in mind that debt consolidation loans may come with higher interest rates, additional fees, and longer repayment terms. Before signing up for a debt consolidation loan, review the terms of the loan to make sure you’ll save money in the long run.

Getting a debt consolidation loan usually involves the following steps:

  1. Shop around with multiple lenders to ensure you get the lowest interest rate possible.

  2. Complete a loan application.

  3. Provide any additional documents requested by the lender to verify your income, bank accounts, and other information.

  4. The lender will assess your application, credit report and supporting documents.

  5. The lender will approve or reject your loan application.

  6. If approved, the lender can pay off your debts for you. Sometimes the lender can fund your bank account or give you a line of credit and you pay off your accounts yourself.

Common Types of Debt Consolidation

While there are many ways to consolidate your debt, the most common is to take out a debt consolidation loan to pay off your balances or use a balance transfer credit card.

debt consolidation loan

A debt consolidation loan is a fixed rate installment loan where you repay the loan in monthly installments over a fixed term. To qualify for a debt consolidation loan, you must have a stable income and at least decent credit. To obtain the lowest interest rate, a credit score of 740 and above may be required.

Balance transfer credit card

With good credit, you may qualify for a balance transfer credit card offering a 0% interest introductory period ranging from 12 to 21 months. Experience Ratings. You can transfer all your debts to this card and pay off your balance during the introductory period without interest.

Remember, however, that once the introductory period expires, the annual percentage rate (APR) applies. Also keep in mind that these credit cards come with a balance transfer fee, usually ranging from 3% to 5% of the transfer amount with a minimum fee of $5. If you only have a small amount of debt to transfer, your savings may not exceed the balance transfer fee.

Debt Consolidation Loan Alternatives

Although debt consolidation loans and balance transfer credit cards are commonly used to combat debt, other consolidation options are available, each with varying degrees of risk to consider.

  • Personal loan: Unlike debt consolidation loans, whose primary function is to pay off your debt, personal loans are not tied to a single goal. You can use the funds from a personal loan for a variety of reasons.

  • Home Equity Loans: If you have enough equity in your home, you can access that equity to pay off your debt through a home equity loan or home equity line of credit (HELOC). Home equity loans generally offer lower interest rates than other options, but that’s likely because your home serves as collateral on the loan. A home equity loan is risky because if you fail to repay the loan, you could lose your home.

  • 401(k) loan: It can be tempting to withdraw funds from your retirement plan – mainly because you probably won’t have to pass a credit check – but it could be considered early withdrawal and result in taxes and penalties. A 401(k) loan may be a better option as you can avoid the tax penalty. Consult with your plan administrator before withdrawing money from your pension plan or contact a financial advisor for advice.

  • Debt management plan: You can set up a debt management plan by working with a nonprofit credit counseling agency. In this case, a credit counselor contacts your credit card companies and tries to negotiate lower interest rates and monthly payments, usually three to five years.

  • Debt settlement plan: You should only consider a debt settlement plan as a last resort. A debt settlement plan is different from a debt consolidation loan because a debt relief company negotiates with your creditors to reduce your debts to less than what you owe, rather than transferring your debts on one account. These companies often charge high fees for their service. Debt settlement plans are risky because they can seriously damage your credit and you may have to pay taxes since any forgiven debt is considered taxable income.

Debt consolidation can make sense if it helps simplify your finances and comes with a lower interest rate that can save you money. Remember to review the interest rate, terms and fees before accepting any loan or credit solution.

Registration open for the Oram Awards 2022

Artist News Awards

By Andy Malt | Posted on Tuesday, July 5, 2022

The Oram Awards will return in November this year to recognize female, trans and non-binary innovators in sound, music and related technologies. Registrations are open now.

In partnership with the PRS Foundation and the Radiophonic Foundation, the awards are named after Daphne Oram, one of the founding members of the first BBC Radiophonic Workshop. Initially focused on celebrating women in music, the event has recently opened up to trans and non-binary artists, with the aim of improving representation in the electronic music community.

Two winners receive special mentions and development grants of £1,500 from the PRS Foundation, while four others receive grants of £500. All six also have access to the Oram Awards mentorship program.

Last year’s winners were Magz Hall, Vivienne Griffin, Lia Mice, Lou Barnell, Maria Sappho and Venus Ex Machina, and were announced at an online event in partnership with Birmingham-based experimental festival Supersonic. This year, the awards will once again become an in-person event, taking place at the Huddersfield Contemporary Music Festival.

Last year was “a huge success” for the awards, says senior producer Karen Sutton, who notes how “six other outstanding women and non-binary artists” were added to “the growing community of winners.”

“Our partnership with Supersonic Festival, Birmingham, for the 2021 online awards event and podcast has been brilliant,” she continues. “It was such a breath of fresh air to work with such an organized and engaged team who truly understand the goals and ambitions of the Oram Awards and the artists we support. 2022 is shaping up to be another busy year and [we are] delighted to bring The Orams to the Huddersfield Contemporary Music Festival in November 2022”.

To be eligible, entrants must be over the age of eighteen; female, trans or non-binary; create high-quality original music and sound; innovate in sound, music and related technologies; and demonstrated that they “deserve increased recognition”.

If this sounds like you or someone you know, applications are now open until August 15th. Learn more and apply here.

READ MORE ABOUT: BBC Radio Workshop | Oram price | PRS Foundation

Cat Burns teams up with Shermanology for an epic remix of his queer anthem


Photography by Adama Jalloh

Cat Burns has collaborated with Dutch electronic duo Shermanology for a new rendition of their hit Free.

Since making his music debut in 2018, Burns has captivated audiences around the world with his spectacular vocals and immersive songwriting about the LGBTQ+ experience.

Along with his growing devoted fanbase on social media platforms like TikTok and Instagram, Burns has proven that his upward trajectory has only just begun.

In December, the young talent opened up about the complexities of coming out to her family in the heartfelt track Free.

Within months of its debut, the song reached viral status on TikTok and was hailed as a new LGBTQ+ anthem.

Now, the UK-based artist has released a new version of the record with an electronic twist.

Free (Shermanology Remix), produced by the titular duo, takes Aston Rudi’s original production and mixes it with soulful tech-house sound.

The remix comes weeks after Burns opened up to GAY TIMES about the importance of breaking “hard stereotypes” about LGBTQ+ artists and the black community.

“I’m a 22-year-old queer black woman and I talk openly about all of these things. There is a message that is portrayed about black women that we are all in a particular way,” she explained.

“That we’re really brash, aggressive, so I come in and talk about really vulnerable things. If you are a black woman, I want you to feel heard and seen.

“We are vulnerable people capable of having a lot of emotions. And, being a queer black woman adds a layer to that. Cat’s music is definitely hers.

Elsewhere in the interview, Burns also talked about his latest EP, Emotionally Unavailable, and releasing vulnerable tracks like Free.

“Knowing the love people have for that transparency and songs like Free, which is a close-to-home story about a friend, is a really nice feeling because people feel like they grew up with you and your story.”

Listen to Cat Burns’ latest track, Free (Shermanology Remix) here or below.

Macka & Lowree give us the details of their debut album

After releasing their debut album, house duo Macka & Lowree came to chat about their production styles, the Scottish dance scene and more!

It’s obvious that the dynamic Glasgow-based house duo, Macka and Lowree are a delightful formula when they combine forces for a glorious vision of reinventing old school classic club music. Since the release of their first collaborative album, the Mood 4 Love PE, in 2021, the duo have continued to impress fans around the world with their flawless releases. This time they return once again with an expanded project on New recordings to release their latest 12-track album, Without the music (I don’t know where I would dance).

Across the dozen remarkable new tracks on this carefully crafted disc, Macka & Lowree go beyond genre boundaries with diverse house cuts infused with nostalgic samples and disco-infused sounds. Crisps, percussive snaps inside”Chorin’ Love” and “That’s it” to complex battery programming, energy propelling bangers like “Nothing else” and “Numb 2nite“, the collection of tracks represents the duo’s intentions to offer the world a titillating dancefloor record with a tinge of ’90s-inspired club memorabilia.

Exuding determination and excitement to collaborate again as close friends and fellow producers, the duo continue to soar into a league of their own, each of them currently holding monthly residencies in Glasgow. The Cheetah Club and have been a staple of the local electronic scene. As they prepare for a busy second half of the year, we caught up with the duo to discuss their creative growth throughout the production of this album, musical influences and the growing number of top clubs in their hometown. .

Discover Macka & Lowree’s latest project, Without the music (I don’t know where I would dance) on your favorite platform, and read on for the full conversation with this up-and-coming house duo!

Stream Macka & Lowree – Without the music (I don’t know where I would dance) on Spotify:

Hi Macka and Lowree! Thanks for the cat! We would like to dive into your roots and your approach to music production in this interview. First of all, going back a bit in time, how did you two meet and start working together on this new project?

We’ve been inseparable as friends and artists since we were 17, so this project is our latest project rather than a one-off. The Macka & Lowree projects aren’t stopping anytime soon. The chemistry we had together from the start is something you don’t come across very often and we’ll probably look to use it forever.

What were your musical influences at the start of your career? How did that inspire your production style?

Overall, some notable inspirations we’ve shared since beginning to create music together are Kerri Chandler and Denis Sulta.

What IWhat is your approach to production when it comes to working in the studio? How do you manage both the creative style and the storytelling when it comes to working on processes such as melody, lyrics and instruments?

We try to bring a new approach every time we work on something. During the process of the album, we used some newly discovered techniques that we will definitely continue to use when we return to the studio. We are always changing who does what and who supports and eventually we end up entering a state of natural flow. During the album writing/jamming process, we also used newer gear that we hadn’t used before, such as the Roland TR-6S, new stompboxes, and the Ableton Push.

Jump to your latest album Without the music (where would I dance), even the title aptly captures the theme of the entire record, paying homage to the classic sound and fueling the passion for dance music! But we would like to know what was the key message you hope to convey to listeners through this album?

We think the key messages or ideas that we’ve been trying to get across are that the normality of having fun on a dance floor is coming back after the tough times we’ve been through for the past few years. The tracks give off that great energy that we remember having in a club before the hard times started.

There are energetic house cuts and darker, electro and raved vibes in the 12 tracks of this album, which is really impressive! With the wide range of intricate sampling and production style, can you share any memorable experiences or encounters while working on this project?

Thanks a lot. [Laughs] Yeah, there’s one memorable moment in particular that we both cherish. When we were out in Glasgow to film and have a few drinks at a local bar, we went back to our studio afterwards and started jamming on machines and slowly putting together a random piece without planning it at all. The two of us pretty much made this track for an hour or two while our friends were chilling with us and it ended up becoming the first single from the album “Bring The Beat Back”.

Coming from Glasgow, you were both passionate advocates of 90s club culture. What is the dance music scene like there and what are some of your favorite local clubs?

The dance music scene in Glasgow is unrivaled in many people’s opinion due to the huge variety of sub-scenes and amazing clubs it has to offer. We both had the chance to play in the best of the best such as Sub Club, The Cheetah and Berkeley Suite, for which we are very grateful.

Finally, what’s on the horizon for Macka & Lowree in the next half of 2022? Can we expect concerts or tour dates?

Currently, we just played the first two shows incorporating our new hybrid live setup with album collaborator Sonedo. For the next half of the year we have part two of our album release party in Edinburgh on July 2 and more dates to come, which you can find via our Instagrams @macka.__ and @l_o_w_r_e_e – and some other news about a limited edition album-related t-shirt with a local clothing brand will also be coming!

Follow Macka on social media:

Facebook | Instagram | SoundCloud

Follow Lowree on social media:

Facebook | Instagram | SoundCloud

Pride Events in Rochester NY 2022: What’s Happening in July?

The annual Rochester Pride Festival begins in July, with 14 days of different events for members of the LGBTQ community. Although 2020 and 2021 did not feature the traditional parade and festival due to concerns over COVID-19, this year will offer all of the above. Sponsored by Trillium Health, Pride 2022 events begin July 2 and end July 30.

Below is a full list of activities and events for Rochester Pride. As always, some events are subject to change.

Saturday July 2

Fleeting Pride Day at the Beach: From 1 to 5 p.m. at Ontario Beach Park at 50 Beach Ave., attendees can take part in arts and crafts activities, a community fair, music and entertainment, and table and lawn games.

Wednesday July 6

Rochester Summer Pride Comedy and Storytelling Show: Held at Comedy at the Carlson, located at 50 Carlson Rd. in the city of Rochester, this event, which begins at 7:30 p.m., is in its third year and is presented by the group Queer AF Comedy. General admission is $20 per person and only for those age 21 or older. A portion of the proceeds from the event will go to the Rochester ImageOut LGBT Film Festival.

Thursday July 7

Pride Celebration Day: Hosted by the Memorial Art Gallery from 5:00-9:00 p.m., this event features free museum entry, a unicorn photo shoot, a drag queen story, and more, like workshops from local dance company Frazee Feet Dance.

A Pride Flag Raising Ceremony is also taking place at noon at the County Office Building at 39 W Main St.

Friday July 8

Rochester City Pride Flag Raising Ceremony: Beginning at 5 p.m. in Martin Luther King Jr. Park at 353 Court St., visitors can watch city officials raise the Pride Flag.

Saturday July 9

Pride Power Vinyasa Yoga: Held at Cobb’s Hill Park from 9 a.m. to 10:30 a.m., this course will take place outdoors and is open to everyone. Participants are encouraged to wear rainbows to support the LGBTQ community. Donations of $15, $25, $50, or $100 are accepted, with all proceeds going to the non-profit MOCHA Center, which focuses on improving the health and well-being of LGBTQ people in color.

Pride Day: Held at the CRISP Rochester Restaurant at 819 S. Clinton Ave., the party, which begins at 11:30 a.m., will feature drink specials, a costume contest, giveaways and karaoke throughout the day.

Fleeting Pride Day at Seabreeze: From noon to 4 p.m. at 4600 Culver Road, attendees can enjoy Seabreeze attractions and meet different members of the Rochester community and the Rochester LGBTQ+ Together social group. Group tickets must be purchased through Rochester LGBTQ+ Together and include access to the reserved grove, an all-you-can-eat picnic, and a day pass for the ride and slide.

Roc’n Rainbow Concert: Starting at 7:30 p.m. at the School of the Arts at 45 Prince St., guests can hear the Rochester Gay Men’s Chorus sing along as they celebrate the band’s legacy and future in the community. Tickets are available now by clicking on the concert on visitrochester.com.

Carlos Merriweather branding himself

Sunday July 10

2022 Pride Ride: Interested in a bike ride? The Rochester Rainbow Riders event gives people of all ages the chance to take part in a bike ride through Genesee Valley Park. Beginning at 10:00 a.m. and ending at 1:00 p.m., participants will take a leisurely walk through the park. According to the event listings, the event is chargeable with a suggested figure of $10. The event is restricted to 18+ and is a pre-registration only event according to the organizers.

Pride Picnic: The 50th anniversary of a community picnic is also taking place at Genesee Valley Park. From noon until 6 p.m., guests can enjoy music, food, games, and more. Tickets are $5 per person.

tuesday july 12

Pride Rave Cycle Class: Hosted by the Vault Rochester Fitness Center, 10 Franklin St., guests can take part in a cycling class, which begins at 5:30 p.m. and ends at 6:15 p.m. For more information, call Vault Rochester at 585-730-7824.

The good, the bad and the funny: Attendees can catch a comedy show at Equal Grounds Coffee at 750 South Ave. starting at 7 p.m. and ending at 9 p.m. For more information, contact Equal Grounds at 585-256-2362.

LGBTQ Historical Walking Tour: The Landmark Society of Western NY and LGBTQ historical organization Shoulders to Stand On will be hosting a tour of various historic sites around the greater Rochester area related to LGBTQ history. Departure times and locations have yet to be announced.

Buffalo's Madie Granata and Rochester's Meredith Lewis adjust their flags and outfits before the start of the Roc Pride Parade on July 20, 2019.

Wednesday July 13

Pride Night at Frontier Field: Guests can catch a baseball game beginning at 7:05 p.m. at Frontier Field. The first 500 guests will receive a free t-shirt. A fireworks display sponsored by Ellenwood Electric will close the night after the game.

Thursday July 14

Love wins cycle class: Hosted by the Vault Rochester Fitness Center at 10 Franklin Street, guests can take part in a cycling class, which begins at 5:30 p.m. and lasts until 6:15 p.m. For more information, call Vault Rochester at 585-730-7824.

ImageOut Pride Movie: The Little Theater will host a series of films organized by the ImageOut Film Festival. For more information, such as start times or ticket prices, visit the organization’s website at imageout.org or contact the Little Theater at 585-258-0400.

Pride Paint & Sip: BlakeRyan at Eastview Mall will host a special event with local artist Ryan Tamer. From 7 p.m. until 9 p.m., guests can paint and drink if they wish. Open to all ages, with tickets available online from $35 for advance tickets up to $45 on the day of the event.

Flour City Hockey Club Pride Game: The improvised hockey club will organize a 90-minute recreational game offered to LGBTQ players, allies, friends and family. Held at the Paul Louis Arena at 1 Boys Club Place, the game begins at 8 p.m. and continues until 9:30 p.m. Tickets for players are $30 and include a commemorative hockey jersey. Net proceeds from the game will go to Trillium Health.

friday july 15

Roc Pride Party Juice Box: Are you interested in dancing? Roc Photo City Improv will be hosting a special dance event for Pride Festival. The event will also commemorate the first anniversary of Juice Box, the organizing group of the event. Tickets are $10 per person and the event will run from 8 p.m. to 2 a.m. A portion of ticket sales will be donated to For the Gworls, a local self-help collective. Proof of vaccination against COVID-19 must be presented.

Flags, balloons and party clothes were just some of the fun things to watch during the ROC Pride Parade on July 20, 2019.

Saturday July 16

Roc Pride Parade: The festival is back after two years of absence. The parade will begin at the intersection of Alexander Street and Park Avenue, and end at Park Avenue and Brunswick Street. The festival will begin at 1 p.m. and lead directly into Pride Fest.

Roc Pride Day: Held at Cobb’s Hill Park at 1 p.m. immediately following the Roc Pride Parade, attendees can enjoy food, live music, entertainment, beer, games and more. Tickets are $5 for general admission and $50 for VIP tickets. The event ends at 8 p.m.

Sole Rehab Pride Party: Held at Photo City Improv, Sole Rehab will give attendees a chance to dance and enjoy the music of electronic bands. For more information, visit the band’s Instagram page at solerehabroc.

Sunday July 17

Drag me to brunch: The Hyatt Regency at 25 E. Main St. offers brunch with drag performers starting at 10:30 a.m. The event runs until 2 p.m., with tickets available now for $60.

Bad Apple Party: The Hungerford Building’s Seed + Stone cider house is hosting its monthly Bad Apple Party on July 17 with an LGBTQ focus. Cider and mead will be available to guests along with soft drinks and treats from Happy Gut Sanctuary. Pizza slices from Peels on Wheels Pizza will also be available along with music and outdoor games. The event runs from 12 p.m. to 4 p.m.

Pride Ice Cream Party: The Village Ice Cream Shop in Spencerport will host an ice cream social starting at 2 p.m. and ending at 5 p.m. For more information, contact the store at 585-617-4526.

Saturday July 23 – Sunday July 24

Rochester Queer Handmade Art Sale: Visitors can purchase handmade items by LGBTQ artists at 30 Shaftsbury Rd., from 9 a.m. to 3 p.m. both days.

The intersection of Berkeley and Park featured a rainbow walkway in honor of the ROC Pride Parade.

Friday July 29 – Sunday July 31

Rochester’s Black Pride: As of this writing, no details have yet been released for this cultural and arts festival run by Black LGBTQ people. For new information, visit the Facebook page of the group Rochester’s Black Pride.

Saturday July 30

Pilates in the park: Led by Michelle Pritchard, owner of Evolution Pilates studio, guests can take part in an outdoor pilates class at Cobb’s Hill Park, near the pond. The class starts at 10 a.m. and lasts one hour. Tickets are $25 per person, and all proceeds will go to the nonprofit LGBT+ Giving Circle.

For more information on Roc Pride 2022, visit the Trillium Health website at https://www.trilliumhealth.org/patient-and-community-services/pride-2022 .

A few things we’ve learned from afar


Throughout my adult life, I’ve written about hip-hop culture. In fact, I fell into this profession partly because of my curiosity for the international hip-hop scene. Still, I have a lot to learn, so I’ll be using this column as a way to share some fast facts I’m learning about hip-hop from around the world. This edition is dedicated to hip-hop in India.

From its earliest days, rap music was a live phenomenon. In the early days of hip-hop, if you wanted to hear rap music, you had to see it perform live at a park jam, rec center, or block party. At that time, the closest thing to a rap record was the countless tapes recorded during these live jams. These bands, featuring early hip hop luminaries like Afrika Bambaataa, Jazzy Jay and the Zulu Nation, Kool Herc, the L Brothers, Cold Crush Brothers and many more were circulating everywhere, allowing listeners to hear live rap music. By the 1980s, rap music had become a recorded medium and a formal genre increasingly tied to the recording industry. Moving from a mostly live setting to records, hip-hop began to spread internationally. Young people around the world took notes from the American pioneers and combined this new sound with the musical traditions of their home countries.

Looking for new hip-hop and R&B sounds from around the world? Check out our playlist, The Global Cypher.

One of the oldest countries in the world, India’s musical heritage dates back far into antiquity. More recently, however, the influence of Indian music has touched everything from the jazz sound of John Coltranepsychedelic rock bands like The Byrds and The Beatles to modern electronic music. This cultural exchange between India and the rest of the world goes both ways. You started seeing the sound of hip-hop in India, for example, at the dawn of the 90s and today several Indian hip-hop groups have reached impressive commercial and creative heights, making India one of the global hotspots of the genre.

Today, India enjoys a booming hip-hop scene with artists like Divine, Raftaar, Badshah, Dino James, Fatty Seven, and others making major commercial waves and a rich underground scene. Reflecting how much interest there is in the county scene, Def Jam opened a new label division there earlier in 2022. Like many young people around the world, Indian rappers are brilliantly drawing inspiration from hip-hop and Western influences to create their own unique artistic voices. With that in mind – and with respect and deference to all the artists, DJs, writers and fans who push this culture forward – here are some things I learned about hip-hop in India.

Baba Segal

Rapper Baba Sehgal debuted in the early 90s and is commonly cited as India’s first rapper. In the early 90s, he released a trio of albums – Dilruba, Ali Babaand Thanda Thanda Pani – which combined rap with traditional Indian singing and New Jack Swing and beats influenced by Chicago house.

Asked about his beginnings in hip-hop, he once said IANSlife in an interview“I started rapping just to survive. I saw international videos and started to explore rap. It was coincidentally just a month before the launch of MTV in India. When I delved into the layers of rap and researched it, I must have read a lot, considering there was no internet back then. I created my own way of rapping, I made them funny and creative because I just wanted to tickle a funny bone in people. Today, Baba Sehgal is a major Indian music star outside of music, starring in several Bollywood movies and TV shows.

My Friends and I Made a Documentary About Indian Hip-Hop, and There’s Still a Lot to Learn

In the spring of 2018, rapper/producer/songwriter Raj Haldar was signed on to play his first India tour. As an Indo-American child growing up on the East Coast, Raj had visited India with his parents, but had not had the opportunity to play the music he loved there. Eager to document the experience, Raj invited me and my writing partner, Josh Leidy, to come film the trip. Unfortunately I fell ill and couldn’t come, but Raj and Josh spent a week in India, filming and interviewing artists in Mumbai, Delhi and Bangalore. The resulting movie, Another word for heaven, spotlights the talents of Indian dance crews, graffiti artists and artists like Prabh Deep and Indian-American rapper Raja Kumari. Knowing that India had a vital music scene, I was immediately struck by the richness and diversity of the Indian hip-hop scene. And, in the years since the documentary was filmed, a ton of new artists have emerged.

Dino James loves Eminem, as do many Indian rappers

When we filmed the interviews with local artists for Another word for heavenone name kept coming up when we asked about influences: Eminem. The film 8 miles had a huge impact on Indian youth. Dino James, for example, explains how he first embraced hip-hop and started creating: “Like most of us, I was introduced to hip-hop by Eminem’s song” RapGod”. I have a song on my album, called “On the Rocks” about how I got into music, detailing my calling. Initially I had no idea what the rhyme patterns and flows meant, but that developed over time with more and more work.

Fotty Seven and his anthem “Banjo”

Gurugam-born rapper Fotty Seven creates high-energy songs based on complex flows. Earlier this year he released his club-ready anthem “Banjo”, a track he describes as “a haughty guy who thinks he’s better than everyone without really achieving anything substantial. in life”. Fotty began his career rapping in English, imitating his heroes 50 cents and Eminem, but eventually switched to Hindi. Fotty’s love for Indian culture is also evident in the sounds – many of his greatest songs include traditional Indian sounds in one way or another. A student of the game and a supporter of his peers, Fotty checks the names of Badshah, Bali, Rebel 7, Divine and, of course, himself when asked to name his top 5 Indian rappers.

Looking for new hip-hop and R&B sounds from around the world? Check out our playlist, The Global Cypher.

ena mori releases her new single “King Of The Night!” and announces his first album

Filipino-Japanese synthpop artist ena mori has released “King of The Night!”, the cheerful new single from her upcoming debut album “Don’t Blame The Wild One.”

The track is a song celebrating independence and triumphing over criticism and judgment. “I don’t want to see you in front of my face / Fragile behavior, the just defeated / I am the life / the king of the night!”mori sings confidently atop a booming synthpop production.

The triumphant track follows single “SOS,” which she released earlier in June. Both songs were co-written and produced by Timothy Run, the drummer of Filipino pop-rockers One Click Straight.

“Being mixed race and overweight, I used to be bullied at school and many times I felt like an outcast. ‘King Of The Night’ is inspired by my first experience of teenager as an outcast in hopes of encouraging many children to accept who they are,” Mori said in a press release.

“My producer, Tim, and I wanted to experiment with a different texture that somehow contrasts, like going from a soft self-tuning vocal to a big vocal-like chorus, and an electronic beat to a section of marching band.”

Listen to “The Night King!” below:

Along with the single, ena mori also announced further details about their debut album, which will be titled “Don’t Blame The Wild One”. The 12-track album will be released via Offshore Music Philippines on July 29 and will also receive a vinyl version.

“King Of The Night” is the fourth single from the record, alongside “SOS,” February’s “Vivid” and “Oh, Bleeding Hearts?” of last September.

In 2020, NME named ena mori’s 2020 self-titled EP as one of the top 25 Asian albums of that year, with writer MC Galang praising the record as “a feast of catchy hooks, lush orchestral arrangements and vast synths”.

Earlier this year, ena mori was named Emerging Artist to Watch on the NME 100. She was also nominated for Best New Asian Act at this year’s BandLab NME Awards, alongside artists such as Warren Hue, The Filters and Shye.

Jazz renegade Theo Croker returns to his Jacksonville roots: NPR


Theo Croker performs at the Jacksonville Jazz Festival, October 1, 2021

Kim Reed / Courtesy of the artist

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Kim Reed / Courtesy of the artist

Theo Croker performs at the Jacksonville Jazz Festival, October 1, 2021

Kim Reed / Courtesy of the artist

Few musicians live in the present moment, at the convergence of forward and forward, with more panache than Theo Croker. Trumpeter, producer and composer rooted in the lineage of jazz, he is also at the forefront of a group of peers mixing hip-hop, electronic music and contemporary R&B. Synthesis shines throughout his recent albums, most notably the feature quantum lovewhich is coming this summer, and BLK2LIFE // A FUTURE PAST, which came out last year.

In October 2021, Croker embarked on a world tour to BLK2LIFE at the Jacksonville Jazz Festival. Jazz night in America caught up with him there, for what he said was a thrilling test for his task force. “I was triggering samples from a laptop and through a headphone jack, using pedals that I may not have worked with yet,” he says. “And maybe sing voices I’ve never practiced before. And just try to be brave.”

Jacksonville is Croker’s former playground, the place where he formed his musical foundation. So in this episode, we’ll also take the opportunity to accompany a visit to his alma mater, the Douglas Anderson School of the Arts. We’ll hear from some of his former classmates, attesting to both his obsessive commitment and unruly spirit, and from mentor (and NEA Jazz Master, singer and actor) Dee Dee Bridgewater, who first met Croker during of a residency in Shanghai and who is proud of his trajectory – always an unfolding story.

The musicians:

Theo Croker, trumpet; Michael King, piano, keyboard, organ; Eric Wheeler, bass; Shekwaga Ode, drums

“Love of the Sun” by Exhaust velocity

Theo Croker, trumpet; Dee Dee Bridgewater, vocals; Irwin Hall, alto saxophone; Michael King, Fender Rhodes, piano; Eric Wheeler, acoustic bass; Kassa Overall, drums, programming, sampling, sequencing.

Define list:

(All compositions by Theo Croker, unless otherwise noted)

  • More Maybe (Theo Croker / Iman Omari)
  • Love of the Sun feat. Dee Dee BridgewaterCarl Clay/Wayne Garfield
  • Happy Feet (Theo Croker / Malaya)
  • Imperishable Star
  • Hero’s Trample


Screenwriter and producer: Alex Ariff; Host: Christian McBride; Project Manager: Suraya Mohamed; Vice President of Visuals and Strategy at NPR Music: Keith Jenkins; Executive producers: Anya Grundmann and Gabrielle Armand.

Concert Engineer: Uller Bailey & Jim Stafford, Eclipse Recording Co. St Augustine, Florida; Mixing: Corey Goldberg.

Special thanks to Jim Daniel, Chris Mees and the Jacksonville Jazz Festival team: Rick Huber, Scott Gartner, Steve Flatt and Paola Lorenzo.

Global Wire EDM Machines Market Outlook 2022 and COVID-19 Impact Forecast 2028 – ACCUTEX, Aristech, CHMER, GF Machining Solutions


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boylife wraps El Cid at first homecoming show

boy life photography by Asha Moné

With a debut album filled with lyrics straight from his diary entries, Last Thursday was a seductive show of Ryan Yoo aka boylife opening up to his audience. Selling out his first show in his hometown of Los Angeles, at El Cid in East Hollywood, fans came out to show their love in droves. But I have to be honest, the venue was far too small for such a great talent, however, it lent intimacy to see such a rising star in a picturesque location.


When a friend suggested I see boylife’s performance last week, I was sure I had already seen it. Going through my hard drive, I realized that I had photographed him while he was in another music collective, many moons ago for Sofar Sounds. At the time, I had the pleasure of seeing his talents shine before songs like “Peas” and “supperpretty” hit the web and it’s pretty cool to see what life has become. boy today, if I say so myself.

While the venue was small and the fans were jam-packed with El Cid, it oddly matched Yoo’s vibe perfectly. Its experimental indie roots merging with electronic touches and blues-like samples lulled viewers into a reminiscent realm of watching your neighborhood garage band really develop their sound over the summer break.

2022 Levitt announcement

“Hey gelato

I loved you violently

It’s more than I can swallow

When you leave me

You leave me hollow.

Life as a boy at the CID by Asha Moné
Life as a boy at the CID by Asha Moné

Boylife’s sound encompassed the nostalgia we all yearn for as we watch our teenage years pass us by. Fans shouted “YES!” and “It’s My Song” as Yoo talked songs and playfully talked about the embarrassment of singing about sex with his mother in the room. There was a lot of laughter between the heartfelt serenades.


You know that vibe of ’90s TRL music videos, the resonant “world premiere” sounds coming from your TV screen, those stories of bumping into an up-and-coming artist in a cool venue just before he took off, yeah, that was the feeling of walking across the room. It was a fun and lighthearted experience with people shaking their heads to the beat of the music. If you didn’t know what boylife song was playing, either shazza it or nudge the person next to you to find out.

Catch boylife at this year’s Head In The Clouds and be sure to follow him for the latest updates.

Photos & Lyrics by Asha Moné

boy life photography by Asha Moné
boy life photography by Asha Moné