Daft Punk orchestral tribute to take place in Manchester Cathedral this summer

The Kaleidoscope Orchestra will perform a candelit tribute show

Amy Fielding

Friday, March 12, 2021 – 13:33

A orchestral Daft Punk tribute is scheduled to take place in Manchester Cathedral this summer.

Last month, legendary French electronic duo Daft Punk, made up of Thomas Bangalter and Guy-Manuel de Homem-Christo, announced they would be calling it quits after 28 years in the business.

In light of the split, Manchester-based Kaleidoscope Orchestra has announced for plans for two back-to-back shows on the 20th August this year, with candlelit, orchestral renditions of some of Daft Punk’s best-loved hits taking place in Manchester Cathedral.

The event will be socially distanced, and tickets can be purchased for £55 here.

In the week that Daft Punk announced their split, Rolling Stone’s analtyic provider, Alpha Data, reported that streams for Daft Punk’s catalog soared nearly 500% on the day of the news compared to the previous Sunday, with song sales up 1,335%, and digital album sales up 2,650%. Their most recent album, ‘Random Access Memories’, was the best-selling dance music album on vinyl of the decade.

Read about how the French duo’s ability to constantly reinvent electronic music made them one of the most important electronic acts after Kraftwerk here.

Native Instruments & iZotope Now Partners

iZotope and Native Instruments have announced that they have teamed up to form a new technology group, backed by Francisco Partners and EMH Partners.

With strong identities of their own, Native Instruments and iZotope will each continue to operate independently. But iZotope CEO Mark Ethier and NI CEO Constantin Koehncke will develop a shared strategy as co-presidents of the group.

Here’s what they have to say about the partnership:

“There have been many times in our history where we’ve wondered what it would be like to partner more closely. Past collaborations, like when iZotope introduced NKS (Native Kontrol Standard) to Ozone 9, gave us a glimmer of the potential.

We share a depth of experience in the industry, with NI’s journey beginning in 1996 and iZotope’s in 2001. We both have unique and complementary strengths – from iZotope’s intelligent audio processing to NI’s innovative instruments, effects, and integrated hardware.

Through our partnership, there are infinite possibilities for close collaboration, sharing of knowledge and technology, and enhancement of our product offerings.”

Eventide Announces Standalone MicroPitch Delay Pedal

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Eventide Audio has introduced the MicroPitch Delay, a dedicated hardware implementation of the MicroPitch Delay in the H910 and H949 effects processors.

The effect offers a unique combination of dual pitch-shifters with fine-resolution detuning, delay and modulation, including new positive envelope and negative envelope modulation sources. They say this makes it useful for a wide range of applications, ranging from subtle tone thickening to creating a rich stereo spread to creative sound design special effects.

EA says the MicroPitch Delay pedal is not just for guitars, but works well with vocals, keyboards, drums, and more.


  • Users can choose from dozens of Eventide presets to load via MIDI, which are also accessible in the preset list on the Eventide Device Manager (EDM – a Windows or Mac OS X application for software updates, system settings and creating/saving presets).
  • The pedal can store up to 127 presets in memory, with five presets loaded for access from a latching/momentary dual-action Active Footswitch, with a Catch-up mode to help players dial in their sound when toggling between presets/parameters.
  • A single Aux switch can be deployed to Tap Tempo, or a triple Aux switch can be used for easy preset changing (up/down/load).
  • The MicroPitch Delay Pedal offers multiple Bypass options: Buffered, Relay, DSP+FX or Kill dry.
  • MIDI capability is available over TRS (for use with a MIDI to TRS cable or converter box) or USB.
  • The rear-panel Guitar/Line Level switch allows level-matching with guitars, synths, FX loops or DAW interfaces. Any combination of MicroPitch Delay parameters can be mapped to an Expression pedal.

Pricing and Availability

The MicroPitch Delay pedal is available now for $279.

Josh Hunter has something for the dance floor: ‘No Limit’

Josh Hunter has something for the dance floor: ‘No Limit’82891874 132943581533683 2111576937807417564 N

There’s “No Limit” to the danceability of Josh Hunter‘s latest, a dance-pop enticer that leans heavily into house on DJ S.K.T’s own Stashed Records. With the Mila Falls feature, Hunter closes in on a triple crown of 2021 submissions, with January’s “Keep This Thing Rolling” and early February’s remix of Carrie Baxter’s “Love Me Better” previously igniting the Hunted Records label head’s next year in music. Materializing in both a standard chop and an extended format, “No Limit” finds Hunter with his finger firmly planted on what’s hot in electronic, so if it’s getting warm in here, you now know why.

Featured image: Fibre

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Funk on full display—stream The Sponges’ latest single, ‘Jerry Brain’

Funk on full display—stream The Sponges’ latest single, ‘Jerry Brain’Screen Shot 2021 03 12 At 5.12.55 PM

This isn’t your grandmother’s groove.

Rippling with funk conferred by The Sponges‘ patented cuts, personality-ridden synth work, and samples to boot, “Jerry Brain” brings Ryan Slepin and Nik Eaton back to Box of Cats—and they turn the label into Funktopia accordingly. ’70s cues, four-on-the-floor rhythms, bass, and sample chops have emerged as hallmarks of The Sponges’ psychedelic wizardry since the two-man outfit leapt onto the scene several years prior, and these elements remain choice components of their toolkit today, as “Jerry Brain” so colorfully conveys. Rocketing onto major streaming platforms on March 12, “Jerry Brain” will vibrantly capture your attention—and that’s a Dancing Astronaut guarantee.

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Newly landed: MitiS’ final pre-album single, ‘Hurt’ featuring Zack Gray

Newly landed: MitiS’ final pre-album single, ‘Hurt’ featuring Zack GrayPbs.twimg .com41604

“Hurt,” MitiS‘ third and final album single, brings listeners closer to the full-fledged release of Lost, the Ophelia Records signee’s sophomore LP. The Zack Gray feature follows “Homesick” with SOUNDR, and the RØRY-assisted “Try.”

MitiS captures power, beauty, and emotion all in one track. In signature form, the Pennsylvanian taps into emotive, piano-driven melodies and compelling bass—all with the help of Gray’s vocals. This melodic ballad is just one of the enticing previews of what’s yet to come from Lost.

Featured image: DLK Media

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Terminal V announces full line-up for two-day Halloween event

Terminal V has announced the full line-up for its first ever two-day event this year.

After launching in 2017 as a one-day, two-stage event, Terminal V are heading back to Edinburgh this year for a two-day Halloween event on Saturday 30th and Sunday 31st August.

Among the artists performing at the weekender are Ben UFO, Honey Dijon, Octo Octa and Shanti Celeste, with Avalon Emerson, Ejeca, Ewan McVicar, Floorplan and Moxie also slated for sets.

KiNK will bring his incredible live show to Edinburgh, with other electronic stalwarts in the form of Derrick Carter, Helena Hauff, Mind Against, Paula Temple and Tale of Us also joining Terminal V for the Halloween event.

Speaking in a press release, Terminal V said: “This one has been a long time in the making and will be a gigantic celebration. This October promises to have an extra special sense of magic in the air, expect a blistering soundtrack from a real who’s who of the modern underground landscape.”

Saturday is already sold out, but Sunday and weekend tickets are available. You can purchase tickets and find out more information about passes and upgrades here.

Check out the full line-up below.

In the meantime, why not check out Tale Of Us’ epic melodic techno set streamed from Junction 2 Festival in 2019 here.

Watch this entertaining how-to on hacking Mutable’s Plaits for just intonation

It’s like esoteric music tech bingo: Mutable Instruments Eurorack meets just intonation meets open source meets virtualization meets microprocessor programming meets soldering.

Yes, so our friend Michael Forrest has a wonderfully clever video showing the whole thing. It’s worth a watch-through even if you have no intention of doing this – and if you do have the kit, it looks like a terrific weekend project.

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Michael’s whole series is great, and exquisitely produced. Definitely go watch them.

Blog post – with a ton of resources:


He hacked Grids, too, which is possibly a better first hack to start with:

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So wait – let’s back up and talk just intonation. Hopefully already this week, you read Khyam Allami talking about why 12-tone equal temperament, the default tuning in so much hardware and software, is overly limiting and leaves out a huge swath of the world’s musical practices, plus how the music tech world might approach alternatives (including using free tools he co-developed).

So let’s consider 12-tone equal temperament for a moment before talking about just intonation as one alternative. In order to get those equal divisions, you wind up using a logarithmic scale, which gives you the rather nasty ratio 2 (12√2 ≈ 1.05946). Western theory and even physics of sound texts will make claims about how this is connected to physics. They’ll say equal temperament is a western European invention. (That’s wrong, it was documented in various other cultures centuries earlier). They might get really wrong and mention Bach and the Well-Tempered Clavier. (Bach didn’t use equal temperament, as evidenced by the title he used.) They’ll say you hear logarithmically. (You don’t – not at either end of the audible spectrum. You can actually hear this yourself if you just make a linear sweep of an oscillator.) And they’ll say equal temperament and the chromatic scale are related to the harmonic series. (Well, roughly, but not precisely – and the gap between those two things is sort of the whole point of tuning. Plus, that doesn’t necessarily imply twelve subdivisions, anyway.)

That’s not to pile on 12-tone equal temperament any more than we did this week. It is fantastically useful for tuning orchestras or playing music across all 12 keys, which later becomes important to jazz and atonal music as well as pop. But even in 12-TET, there’s nuance – I’m not a great piano player, and even I have had a rich experience of playing a concert grand in a concert that was freshly tuned with what’s called “stretch tuning.”

Basically, think of tuning more like baking fine pastries and less like microwaving popcorn on a preset setting.

Okay, so just intonation – that’s actually far easier for us non-tuners to understand. It just means using whole-number ratios.

That’s it. Whole numbers – those are the fun ones I can count on my fingers! Phew!

In fact, all the demos you would naturally do to demonstrate the harmonic series or show how tuning subdivisions work on a string would naturally use whole-number ratios rather than something logarithmic because it will not hurt your brain so much. It’s something you can easily demonstrate in the real world without prior training, rather than only on paper. I’d even say, the only reason you’d teach 12-tone equal temperament first is some kind of demented masochism. Blame the Steinway piano and the hegemony of recent classical concert music, even though I adore both.

Just intonation – including so-called Pythagorean tuning (which like most things attributed to Pythagoras probably didn’t really come from someone named Pythagoras) – is probably a reasonable reference for a lot of electronic music. With the possibility of working outside harmony, there’s potential in this kind of system.

Basically, if I wanted to experiment with a new tuning in the same way that I experiment with modulation and filters and whatnot, I’d start with something like just intonation, because of its natural tendency to produce tuned harmonic ratios easily.

You also have a good starting point for a greater diversity of tuning, but from a reference that’s easy to grasp and reproduce. Again because of the tendency to center music in western European culture, lots of theory of tuning will try to explain just intonation as a starting point for those scales. But once you’re using whole-number tunings, you can easily get a lot of pentatonic and heptatonic tunings that come close to a whole lot of tunings worldwide. That doesn’t allow you to shortcut past the ways of learning pitch meaning in those cultures. But it’s a good start. Human approaches to mathematics and instrument construction do have a lot of commonalities. It’s certainly better than trying to cram everything into the more specific mold of western theory.

You’ll hear a lot of people get resistant to this notion and say things sound out of tune. But I’d note how many timbres and sounds that just a few years ago would have terrified people have now become commonplace.

Also, that reaction to things sounding “out of tune” – to fall back on those food metaphors again – is the equivalent of people saying food is “too spicy” just because they haven’t explored different dishes. The fact that someone would say this means they are already nuanced in their perception. Open your ears, and you might find something that is expressive to you.

Anyway, that’s it for me today. All this talking has made me want to turn some knobs… and also to go get some dinner.

Disclosure give groovy house wings to Doja Cat’s ‘Streets’

Disclosure give groovy house wings to Doja Cat’s ‘Streets’Disclosure Hollie Fernando

Following a generous year of original music, from their Ecstasy EP to full-length ENERGY, Disclosure have continued their lightning output in the form of new VIP edits, multiple repackages, and now, a remix of one of the hottest TikTok tunes of recent times. The duo’s latest applies their lauded electronic production to the Doja Cat domain and the pop star’s 2019-released Hot Pink track, “Streets.”

In concurrence with their distinctive sonic palette, Disclosure call in their ability to transform any body of work into a creation inherently theirs. In the case of the heavily sensual “Streets,” the song takes on a different life with newly engineered upbeat grooves and dance-primed house rhythms. Framed with buoyant synths and sun-dyed layers, Disclosure’s rework offers charm in its own regard.

Stream Disclosure’s remix of “Streets” below.

Featured image: Hollie Fernando

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96 Back announces new three new releases on Local Action

The product will drop the first, 10-track release on 16th March

Eoin Murray

Friday, March 12, 2021 – 17:38

96 Back has announced a series of new releases on Local Action.

The Sheffield-based producer will drop three new releases on the label throughout 2021, starting with the 10-track cassette, ‘9696 Dream’, which lands on 16th March. Hear the title track from the collection below.

The 21-year-old producer, who we interviewed back in 2018, has previously released music on labels such as Central Processing Unit and Hypercolour. ‘9696 Dream’ was mastered by Warp Records founder Rob Gordon, and features artwork by Oliver van der Lugt, who also makes music and DJs as Air Max ’97.

Check out ‘9696 Dream’ below, and pre-order the release here.