Glastonbury founder Michael Eavis says “smaller” festival could take place in September

Glastonbury founder Michael Eavis has said that a “smaller” edition of the festival could take place in September.

After announcing another forced fallow year for Glastonbury amid the ongoing coronavirus pandemic, festival founder Michael Eavis has said that a smaller-scale edition of the Somerset festival could take place later this year. 

Speaking on LBC last week, Eavis told hosts that he and the team behind Glastonbury were considering staging some autumn events. “I would like to do something smaller somewhere around the anniversary date of when we started, which was the 18th of September in 1970” he said, speaking about potentially holding an event this year, “and I would like to consider possibly doing something around that time.”

Last week, Festival Co-organiser Emily Eavis said that the team were still working on Glastonbury-related projects for this year, including possible livestreamed events. “A lot of big artists have been in touch offering to perform for us at the farm, so we’re doing everything we can to make that happen. We would love to build a show that can be watched at home by people all over the world, and of course it would be a useful way for us to make some very welcome income.”

Glastonbury has been among the most vocal forces calling for UK government support with coronavirus insurance to help protect against cancellations and postponements this summer. As of Tuesday 5th January, the UK has gone back into a national lockdown which will run until mid-February at the earliest in a bid to curb surging COVID-19 infections. Elsewhere, in New Zealand tens of thousands have been attending festivals as life continues to return to something like normality, with new cases of the virus now numbering less than 80 across the country.

Reason Studios Intros Reason+ Subscription Service

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Reason Studios has introduced Reason+, a new subscription service that offers their Reason DAW – along with a library of 70+ Rack instruments, audio effects, and MIDI Player effects – for $19.99/€19.99 a month.

Additionally, Reason+ introduces the Reason+ Companion, where you can browse and download sound packs.

Subscribers have full access to Reason Studios’ complete array of devices, inside Reason’s Rack plugin and standalone audio workstation. There are over 70 instruments, effects and MIDI Player effects available in Reason+, including Europa, Kong, Grain, and the recently released Friktion and Pattern Mutator. Any new Reason Studios devices and features offered in the future will be immediately available to subscribers.

Pricing and Availability

Reason+ is available now for $19.99/€19.99 per month or for $199.00/€199.00 per year. You can try it for free for 30 days.

Surge, awesome free soft synth, gets major 1.8 update

This labor-of-love, free and open-source software synth has gotten a whole lot more love – with new filters, features, modulation, and content. Surge is a must-have on Mac, Windows, or Linux, and keeps getting better.

Paul Walker sends this in, who it seems got involved in the project after reading about it here. That’s great, Paul, and thanks back from the rest of us!

Version 1.8.x, out this week, has some nice new features:

New filters. Multiple new filter models – two style of ladder filter, OB-Xd filter, K-35 and diode ladder from the open source Odin 2 synth, a weird and fascinating cutoff warp and resonance filters based on Jatin Chowdhury’s blog, 24 dB options for existing biquad bandpass and notch filters, and an allpass biquad filter.

New skins. “Royal Surge” from Voger Design recalls vintage hardware – plus you’ll find improvements to the Classic and Dark skins.

And Royal Surge looks utterly beautiful. (It’s what’s pictured here). Honestly, this is likely what put a lot of people off Surge, and now makes it irresistible. It’s also a zoomable interface. Cough. Reason.

Well, that’s pretty for a paid synth, let alone a free one.

Multi-segment envelope generator. Fully implemented as a modulation source.

More modulation with MIDI controllers and LFO presets, plus additional per-voice and scene modulators.

New Airwindows FX for the FX chain – adapting a great library of open source effects.

Drag-and-drop effects reordering.

An FM3 Oscillator.

More content, for more than 200 presets in the library.

Plus don’t forget you can create your own wavetables.

And that just scratches the surface. The just-released 1.8.1 has a bunch of fixes and tweaks, too.

Mac (64-bit AU/VST3)
Windows (64-bit and 32-bit VST3)
Linux (64-bit VST3)
— and you can even install it via HomeBrew on macOS (which I think means a native Apple Silicon install should be possible; have to give that a shot)

Runs as a synth, or use it as effects bank for processing synths and other inputs.

It supports MPE, too – with a bunch of improvements in 1.8 for MPE specifically. Here’s a great demo with Roger Linn and his beautiful Linnstrument from an earlier release:

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Plus if you missed 1.7, check the Sin oscillator:

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And because this is a volunteer and community-driven effort, they’re always looking for more folks to get involved. It’s really great to see this hobbyist effort, even alongside other stuff and favorite commercial tools. Synths are about personality, anyway, so having that community-based personality in your arsenal is awfully nice. (I also make heavy use of Surge’s VCV Rack implementation – for fellow modular fans.)

Grab it here:

Moog Matriarch Gets NAMM TEC Award For Outstanding Technical Achievement

As part of the 2021 NAMM Show, Moog Music was awarded the TEC Award for Outstanding Technical Achievement for the Matriarch Synthesizer.

“We are humbled to accept this award for Matriarch — an instrument designed and built by our employee-owners here in Asheville, NC and shipped to musicians all over the world,” says Mike Adams, President of Moog Music.

Matriarch is a patchable 4-note paraphonic analog synthesizer, based on classic Moog module designs, with a built-in sequencer, arpeggiator, stereo ladder filters, and stereo analog delay. The synth’s internal connections can be customized using 90 modular patch points.

Here are examples of the Matriarch in action by Paris Strother, Sarah Schachner, Lisa Bella Donna, and Max Ravitz:

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Details on the Matriarch are available at the Moog site.

Make Noise Strega Synthesizer Official Specifications

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Make Noise today officially introduced Strega, a new semi-modular synthesizer, designed in collaboration with synthesist Alessandro Cortini.

Strega can be used as a synth, as a control signal generator or to process external sounds.

This new instrument has the same form factor as the 0-COAST and 0-CTRL. It was designed to be controlled by the 0-CTRL or the 0-COAST’s MIDI CV B outputs. It can also be integrated with Eurorack modules.


  • Patchable with 7 sources and 13 destinations
  • Touch Bridges and Gateways for momentary modulation routings
  • Compatible w/ Eurorack Modular Synthesizer Signals
  • Input for combining with or processing outside sounds
  • Includes patch cables, output cable, and AC Adapter
  • Headphone and Line Level Amplifier as well as Eurorack Output
  • Small Rugged Steel Enclosure
  • Same form factor as 0-Coast and 0-CTRL

Pricing and Availability

The Make Noise Strega is expected to be available in February for $599 USD.

Berlin clubbing won’t be back to normal until end of 2022, says Club Commission

Berlin clubbing won’t be back to normal until end of 2022, says the city’s Club Commission.

Speaking with Deutsche Presse-Agentur, chairwoman of the Berlin Club Commission and CEO of club Gretchen, Pamela Schobeß, said that she is anticipating a period of two years before clubs in Berlin can continue normal programming.

She added that the city’s nightlife institutes were “the first to be closed and the last to be allowed to reopen,” and kick-starting the clubbing economy “cannot go from zero to one hundred” without the continued support of federal and state governments.

Speaking to Resident Advisor, a representative from Friedrichshain club ://about blank said: “What we know and appreciate as a club culture depends on intensity, closeness, contact, intoxicating nights, sharing and exchange. As long as there is a risk of exponential infection and people die from Covid-19 every day, a return to the dance floor is not to be expected. The corona crisis intensifies capitalist injustices and worsens the social division, so that the economic conditions for carefree clubbing also deteriorate significantly. To what extent the Berlin party situation as we enjoyed before corona can be restored at all is not foreseeable.”

Last June, the German government announced they had committed €150 million to the country’s live music industry as part of broader plans to kickstart the economy amid the pandemic. The new scheme from the German government entitled Neustart Kultur, which translates to restart culture, will see the funds injected into the country’s live music and events industry, and comes as part of the government’s plans broader €1 billion plan to rebuild cultural and entertainment businesses.

One of the world’s great party cities, Berlin is facing up to the COVID-19 pandemic in its own unique way. How are the clubs getting on, are there illegal parties happening, and what is the route back to some semblance of normality? DJ Mag takes a stroll through the heart of the German clubbing capital.

(Via: rbb24)

VNSSA drops new acid house cut ‘Cuz of the Beat’ [Q&A]

VNSSA drops new acid house cut ‘Cuz of the Beat’ [Q&A]94472101 255210322333752 3514121183789545852 N E1611610642612

Tech house fans will undoubtedly have heard of VNSSA by now. The LA-based producer has been bubbling up for years since bursting on the scene through her marquee collaborations with Walker & Royce. She has released tunes through Black Book Records, Dirtybird, Higher Ground, and Insomniac (to name just a few), and now, VNSSA is adding one more label to her resume with her debut on Techne.

“Cuz of the Beat” is a tech house burner infused with acid riffs and a punchy bass line that rolls throughout. As her career continues to build momentum, VNSSA’s first 2021 single could signal the start of a breakout year for the rising producing. Dancing Astronaut caught up with VNSSA to chat about the new tune, her future plans, and how techno has changed in the absence of clubs.

What impact do you think the temporary closure of clubs has had on techno and tech house production over the past year? Has the lack of live shows impacted how you produce your music at all?

VNSSA: “I think it’s had a huge impact, but not necessarily in a negative way. When I’m producing a track, part of me is thinking where this track is going to be played, and most of the time the answer to that question is the club. But with clubs being closed right now, it’s kind of allowed me and a lot of producers to step out of our comfort zones. Instead of making just club tracks, I found myself experimenting in all different genres.”

You already have a few hits under your belt, what did you learn from some of your early successes? 

VNSSA: “I learned that you need to fail before you succeed. Failure is what helps you hone your craft and it’s necessary in order for you to grow, not just as a musician, but as an individual as well. If anyone out there is telling you that they haven’t failed, then they also haven’t succeeded.”

You’ve been tearing up livestreams over the past year; do you write your tracks with your DJ sets in mind?

VNSSA: “Sometimes I do. Sometimes I don’t. I guess it just depends. I definitely wrote ‘3am’ for livestreams. It’s about dancing by yourself in your living room at 3:00 a.m., which is what I did for a lot of 2020.”

What bit of advice would you give to young DJs or producers who are looking to get to where you are? 

VNSSA: “I would say collaborate as much as you can. I’ve learned so much by working with other producers and many have become some of my best friends. And also, don’t give up. Never give up.” 

Who is one underrated artist we should be watching? 

VNSSA: “I wouldn’t necessarily say underrated, but it’s gotta be Steve Darko. He’s an amazing producer and puts so much ingenuity into everything he releases. He’s got an album coming out soon and it’s amazing. 10/10 would recommend.”

 As we (hopefully) go back to live shows in 2021, what are your goals and ambitions for the year? Do you have any big plans that you can share with us?  

VNSSA: “I definitely plan on releasing tons of new music, and I have a lot of really big shows planned. Hopefully. Only time will tell. That’s one thing I learned in 2020; all bets are off.”

Featured image: Trevor Dean

Tchami talks ‘Year Zero,’ collaborating with Gaga, and more on Willy Joy’s ‘Back To Back’ podcast

Tchami talks ‘Year Zero,’ collaborating with Gaga, and more on Willy Joy’s ‘Back To Back’ podcast131890981 316534056168888 4193466880791717109 N E1611764281748

Long-form features with house icon Tchami are hard to come by, but DJ-turned-interviewer Willy Joy recently hosted the future house maestro on his podcast Back To Back.

The 70-minute conversation begins with talk about Tchami’s come up with DJ Snake and Malaa during their teenage years and the early inspiration that he found in French hip-hop before he caught wind of Daft Punk and “Drop The Pressure,” which would decisively convert him to dance music. Eventually, Joy gets Tchami talking about his 2020 debut record Year Zero, which was named Dancing Astronaut’s Top Electronic Album of 2020:

“I didn’t think I would ever be able to make an album with this Tchami project, because [there were the] single days, and then came the EPs that did quite well, and the tracks that were not the main singles on the EPs received a lot of attention too, a lot of praise too. So I was like, maybe I can express myself more than the Tchami sound I’m known for and open the range of the sonic possibilities for me. Little by little came the day where I opened the folder of all my tracks and I said, ‘maybe I could do an album.’ That was it, there was no greater intention behind it. We found everything else later, the title, the artwork, but the primal intention was music.”

By his own admission, Tchami is a very secretive guy. Even his own parents didn’t hear Year Zero until its release day, the album maker said during his Back To Back guest slot.

While on the tour that preceded the LP, Tchami played several Year Zero inclusions without announcing them as such just to get the crowd’s honest reaction to the music. He went on to explain how some of the marquee collaborations on his debut came to be, including “Praise” with Gunna, which still came about, despite their inability to get in the studio together.

“We couldn’t see each other, but we had that friend in common, so I gave the beat to Danny and he played the beat to Gunna…I was not there, but he was texting me and I was always getting feedback, ‘what do you think of this, or that?’ So we tried to make it like [I was there], but I was not. I thought it came out really good…It felt like I was doing a remix honestly at some points. I had the basic track and he did his part, which was great I loved it, and then I kinda rebuilt the whole thing around it. “

Year Zero‘s feature list is as comprehensive as it gets, starring everyone from ZHU to rapidly blossoming vocalist HANA. However, the collaboration that made Tchami the most nervous was the LP’s closer, Todd Edwards.

“That was the first studio session I had in LA, and I wasn’t shaking but I was like, ‘oh, he’s Todd Edwards, I need to do my best to bring him the best beat…we need to make something legendary,’ but he picked the last beat that I played. I saw him click on that song, and was ‘damn, this is the right song, let’s do it right now…’ He wrote the whole song, and that was just an amazing connection in the studio. “

Tchami’s monumental 2020 was also marked by his extensive work on Lady Gaga‘s Chromatica, where he scored producer credits on four tracks, including the smash hit “Rain on Me” with Ariana Grande. Along with revealing that he and Lady Gaga had sent ideas to each other for years before Chromatica, Tchami described what it was like to work on someone else’s project versus his own.

“It’s easier, because you don’t have expectation; you are not going to bear the weight of the work at the end. I put everything Tchami aside and try to focus on what Martin can do for you today. That’s how I approach every collaboration when it’s not Tchami.”

Joy also took some time to discuss spirituality with Tchami. From his Confession label to the priest outfit that he characteristically dons when performing, Tchami and his work have always related to spirituality in some capacity.

“To me, it’s the connection from the ground to the sky and to what’s beyond, whatever you call it, it’s fine with me. The collar thing is I liked the outfit so let’s give it a shot. I was born and raised Catholic, but not really going to church. Baptized, but not going beyond that. To me, art is the special thing human beings are able to do that can transport you outside reality. Music is a part of this too. I just try to reach that state of mind every time I’m making a track. All the things that go after, mix, mastering, arranging, are only to help that feeling to be better. “

Throughout the rest of the podcast, Joy and Tchami discussed songwriting techniques and the importance of the groove, the future, and inspirations for founding Confession, and how the pandemic helped Tchami fix many unhealthy habits brought on from his relentless touring and work schedule. Listen to the full podcast below.

Featured image: Tchami/Instagram

Wenzday and Capozzi catalyze bass house chaos with the help of Lil Debbie on Confession’s ‘Bright Lights’

Wenzday and Capozzi catalyze bass house chaos with the help of Lil Debbie on Confession’s ‘Bright Lights’143154294 170317237815934 6216547217225360831 N

After running laps on BIJOU‘s Do Not Duplicate Recordings, IN / ROTATION, Kannibalen, Pinnacle Collection, Night Bass, and AFTR:HRS, Wenzday’s road has led her to Tchami‘s Confession for a label debut that positions her alongside Capozzi. Though the combination of Wenzday and Capozzi is certainly sufficient when it comes to making considerable noise, the volume of the pair’s impact turns up with the addition of Lil Debbie, who lends her pipes to “Bright Lights.”

Though the single isn’t Capozzi’s first strut around the Confession release circle—she initially impressed her signature on Tchami’s platform with “SOS in 2019—its as powerful an appearance as her inaugural. Equipped with a drilling bassline, “Bright Lights” fits right in on a label that tacitly prides itself in putting forth some of the finest house—hybridized or not—in the game. See for yourself below.

Featured image: Capozzi/Instagram

UNIIQU3, TSHA, and more step up to remix Aluna’s debut solo LP, ‘Renaissance’

UNIIQU3, TSHA, and more step up to remix Aluna’s debut solo LP, ‘Renaissance’Aluna Press Jeremy Paul Bali

Last summer Aluna Francis planted her own flag in the sand when she embarked on her debut solo effort without longtime production partner George Reid. Appropriately titled Renaissance, the record reflected a rebirth of sorts for Aluna, capturing a potent blend of soca, dancehall, pop, and club-ready sounds across 14 tracks featuring credits from a host of equally heavy hitters. The album featured collaborations with KAYTRANADA, SG Lewis, Princess Nokia, and more, along with Mr. Carmack, Scott Storch, and Lido ranked in the project’s production credits.

As 2021 gets underway, Renaissance will enjoy its own rebirth, with a grip of new corresponding remixes now available. Jersey club royalty UNIIQU3 is joined by TSHA, one of Dancing Astronaut‘s Ones to Watch in 2021, The Martinez Brothers, Austin Millz, Bella Boo, and more on a stacked remix collection that offers an invigorating complement to the album’s original groundwork. Rounding out at 10 new remixes, Aluna’s debut solo effort gets an extended shelf life with a handful of refreshing new takes, available now via Diplo‘s Mad Decent.

Featured image: Jeremy Paul