In the latest episode of Complicite host Simon McBurney is joined by composers Laurie Anderson, Brian Eno and Nitin Sawhney for a lockdown panel discussion on Ways Of Listening.
It’s 90 minutes of intelligent people discussing their current perspective on listening to music, nature, soundscapes and more.
“We hear all the time. Our ears, even in sleep, unlike our eyes, are never closed. But listening is an act of conscious concentration which, in the words of John Berger, ‘…salvages meaning…’ from the words and world around us.
So how can we listen amidst the roar of these unceasingly cacophonous times, and could listening, ultimately, change the way we live?”
This video, via Runningonair, takes a look an in-depth look at the extensive oscillator options available on the Arturia MicroBrute synthesizer.
The video covers the basic wave forms and then moves onto their modulation options and combinations, showcasing the rich range of possibilities available from what’s essentially a single oscillator monosynth.
If you’ve used the MicroBrute, share your thoughts on it in the comments!
Releases from RÜFÜS DU SOL that step beyond originals are a rarity. Earlier this year, the Grammy-nominated triad assembled a mind-numbing 45-minute live concert from the depths of the Joshua Tree desert, where they performed a selection of their most reputable tracks. The eight-cut project was more than sufficient to hold fans over until RÜFÜS DU SOL’s next output, but the group additionally alluded to their fourth LP at the time. RÜFÜS DU SOL advised fans to remain patient, given that the album was in the early stages of production. That perseverance has now begun to pay off as the Australian trio shares a blissful take on brother-sister duo Lastlings‘ “No Time,” which serves as “one of the many things” they have in store.
Initially popping up in RÜFÜS DU SOL’s Beatport ReConnect stream in March and their subsequent isolation appearances thereafter, the remix sees RÜFÜS DU SOL adapt another artist’s work for only the third time. The alternative dance trio previously reworked ODESZA’s “It’s Only” and Foals’ “The Runner.” The Lastlings album single, just over a month old, receives a hearty tempo upgrade from RÜFÜS DU SOL, who reconfigure their label signees’ original to a darker, club-primed climate. RÜFÜS DU SOL delineated how the version came about, stating:
“A few years ago, when we first met Josh and Amy, they played us the demo for ‘No Time’ among others – we loved it – that bunch of demos was one of the things that pushed us to start the label we’d been talking about for a long time. We’re stoked to be able to put our spin on an already incredible track!”
Five-time Grammy-nominated duo Disclosure released a new single, “Douha (Mali Mali)” on July 29. The song features vocals from Malian singer-songwriter/actress, Fatoumata Diawara. This is Disclosure’s second collaboration with Diawara, who previously joined forces with the brothers on the 2018’s Grammy-nominated “Ultimatum.” “Douha (Mali Mali)” hails from Disclosure’s forthcoming LP, ENERGY, set for release on August 28.
Sung in Bambara, a traditional Malian language, the lyrics pay homage to Diawara’s home country. The track pairs an uplifting beat with lilting vocals, ultimately creating a song that brings to mind images of hope, pride, and togetherness. The video for the single, also released on July 29, was created with these themes in mind. Filmed in three countries using drone footage, the video seeks to provide a feeling of unity despite coronavirus-mandated isolations.
Trent Reznor, Pharrell Williams, and RZA are among the popular artists to snag a 2020 Emmy nomination, according to the this year’s list of talent up for the illustrious television awards. Reznor and Atticus Ross, Reznor’s seasoned partner in composition across multiple visual projects, notably received two nominations for the HBO adaptation of Watchmen. Their brooding original score landed a nomination for “Outstanding Music Composition for a Limited Series/Movie” and their time-traveling jazz symphony, “The Way It Used To Be,” garnered a nomination for “Outstanding Original Music and Lyrics.”
This is not the first time that this pair of composers has been acknowledged for its writing prowess. Both Reznor and Ross have been distinguished as Oscar winners for their prior work on The Social Network. They are also Grammy Award winners for their involvement in Girl With The Dragon Tattoo.
There is fierce competition in “The Outstanding Original Music and Lyrics” category, which features Williams and Chad Hugo’s “Letter to My Godfather” from The Black Godfather. Like Reznor and Ross, Williams is no stranger to the spotlight when it comes to his contributions to film. Of note, Williams’ upbeat single, “Happy,” landed an Oscar nomination back in 2014.
Wu-Tang’s own RZA received a nomination for “Outstanding Original Main Title Theme Music” for Hulu’s Wu-Tang Clan documentary, Wu-Tang: An American Saga. RZA has plenty of experience in the world of film as well, previously lending his talents to Quentin Tarantino’s revenge classic series, Kill Bill.
The 2020 Emmy awards are set to air September 20 on ABC barring any complications from COVID-19.
In the absence of live entertainment, the trail to building enthusiasm for unreleased music has been less than straightforward. However, Gryffin conquered this opacity with just one bid when he drew back the curtains on “Cry” with John Martin during his oceanside Digital Mirage set in April. First conceived in a studio session at the top of 2020, “Cry” is the product of Gryffin and Martin’s drive to create a “timeless dance record,” Gryffin explained. More than half a year later, it’s glaringly apparent that the two-headed juggernaut prevailed in doing just that, releasing the highly-coveted single to consummate the #FreeCry movement.
Martin may be hailed as an unrivaled voice within progressive house, but his vocal gift comfortably translates to Gryffin’s future bass direction. Scored as the “first record of the next chapter,” Gryffin could not have possibly rung in what could very well turn into his sophomore album campaign on a more opportune note. “Cry” hits each and every target that the two specified for their collaboration, with a copious measure of paradigm verses from Martin and top-shelf acoustics from Gryffin.
The rapper, real name Malik Abdul Baset, has died aged 47. The band announced the news on Wednesday (29th July) via their Instagram and Twitter accounts.
“We regretfully inform you of the passing of our beloved brother and long time Roots member Malik Abdul Basit,” the group wrote. “May he be remembered for his devotion to Islam and innovation as one of the most gifted MCs of all time. We ask that you please respect his family in our time of mourning.”
Philadelphia-born Baset joined original members Ahmir “Questlove” Thompson and Tariq “Black Thought” Trotter to become hip-hop group The Roots before the release of their first album, ‘Organix’, in 1993.
Baset remained with The Roots until 1999, before leaving to focus on his solo career. He made a return for the group’s seventh studio album, ‘Game Theory’, released in 2006.
Tributes for Malik B. have poured in from the hip-hop community and beyond following the announcement.
Black Thought always received the most love, but Malik offered a Phife-caliber counterweight on those first few Roots albums. Bringing staccato fury and militance. A perfect balance and why fans listened from Michigan to Switzerland. https://t.co/xtIv3HLtuC
Heartbroken to hear of the passing of Malik B, one of the greatest MC’s to ever come from this city. He had his troubles for sure, but dude inspired a whole generation of us to touch the mic. Myself included. May he rest peacefully.
Those excited for new Beyoncé will be able to get it on July 31, courtesy of Disney+. At the end of the month, the multitalented performer will release her Black Is Kingvisual album, which is based on her music from The Lion King: The Gift, an album inspired by Disney’s live-action version of The Lion King. Beyoncé played the voice of Nala in the live-action rendition, and her Black Is King album notably comes just one-year after The Lion King premiered in theaters.
According to Beyoncé’s production company, Parkwood Entertainment, Black Is King has been in the making for the past 12 months. The production is “a celebratory memoir for the world on the black experience,” Parkwood personnel said. The 85-minute film brings Black Is King to life through songs, skits, and interpretive dance. Of note, cameras traveled to New York, Los Angeles, South Africa, West Africa, London, and Belgium to capture the actors and their choreography.
The album is streaming exclusively on Disney+. Subscribers will be able to watch Black Is King for free online by logging into their accounts.
Featured image: Picturegroup/Shutterstock
Make no mistake—dance music is born from black culture. Without black creators, innovators, selectors, and communities, the electronic dance music we hold so dear would simply not exist. In short, dance music is deeply indebted to the global black community and we need to be doing more. Black artists and artists of color have played a profound role in shaping the sound and culture of dance music and now more than ever, it is necessary for everyone in the music community to stand up for the people that have given us so much. Dancing Astronaut pledges to make every effort to be a better ally, a stronger resource, and a more accountable member of the global dance music community. Black Lives Matter—get involved here:
With the majority of the world hunkered down at home throughout the last few COVID-19–dictated months, many are turning to streaming platforms for entertainment. As Spotify continues to dominate the global music streaming market, many were surprised to see that although Spotify has continued to grow during 2020, its rate of growth has declined since quarter one.
Total paid premium users grew from 130 million to 138 million, and total active monthly users grew from 232 million to 299 million, according to data from Spotify’s recently released second quarter earnings report. Although this increase is certainly good news for Spotify, total revenue only rose two percent from quarter one, and this growth was largely attributed to paid subscribers. Ad revenue for the platform dropped a whopping 21 percent as advertisers became more conservative during the pandemic.
Spotify’s net loss increased $329 million from last year’s same quarter, and average revenue per user dropped seven percent. With 6,049 full-time employees around the world, the streaming behemoth’s operating expenses rose 48% year over year, and are well above forecast according to the company.
Spotify CEO, Daniel Ek, however, remains confident about Spotify’s performance, stating,
“We had a very strong quarter. I’ve never been more bullish about where we are today and our future opportunity. There are still billions of people who have yet to discover on-demand music streaming or listen to a podcast, and many more we have yet to reach in markets around the world.”
The new data comes after Spotify’s recent launch in 13 new European markets, including global top 20 streaming market, Russia. Spotify also continues to spearhead its path in the podcast market, increasing its catalog by 50 percent, and netting exclusive, multi-year licensing deals with The Joe Rogan Experience and The Michelle Obama Podcast.
Read Spotify’s second quarter earnings report here.
The EP features remixes from Dombresky and Halogenix
DJ Mag Staff
Thursday, July 30, 2020 – 14:21
TOKiMONSTA has shared a new EP.
Following her soundtrack contribution to new Playsation game, Ghost of Tsushima, LA-based DJ and producer TOKiMONSTA has released a new remix EP.
Featuring reworks courtesy of French producer Dombresky, Halogenix, and Damian Lazarus, ‘Come And Go Remixed’ serves as the first installment pack from the upcoming ‘Oasis Nocturno Remixed’ LP slated for release later this year via Young Art Records.
TOKiMONSTA’s fourth studio album ‘Oasis Nocturno’ was released back in March, and followed her 2018 single ‘Love That Never’, a four-minute forray into lush, swirling synth and soft vocal cuts.
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