For May’s Mental Health Awareness Month, Save The Children and the Tim Bergling Foundation have partnered in a collaborative effort to combat the stigma surrounding conversations around mental health. The campaign aims to help strengthen the mental fortitude of young adults through music as it can be used as vital tool for expressing emotions and cognitive development. The non-profit also intends to create ample common space for children by allowing them “more meaningful leisure time” says Klas Bergling, adding that, “it is an important part of life between home and school and young people.” Helena Thybell, Secretary-General of Sweden’s Save the Children stated,
“Mental illness among young people is increasing, and even though this issue is covered regularly in the media, it is still very challenging to reach children with relevant information and support. That is why it’s important for us to use a channel where children are–and show that no one is alone.”
Along with the launch, notable fellow Swedish artists such as Alesso, Tove Lo, Elliphant, Benjamin Ingrosso, Loreen, and Felix Sandman have donated their Spotify Canvas covers in order to benefit the two foundations. The newly displayed animated backgrounds illustrated by Allen Laseter, Alva Skog, Parallel Teeth, Laura Hodkin and Dan Stankler are based on children’s characterization of their mental health and emotions. Learn more about Save The Children’s collaboration with the Tim Bergling foundation here.
If you or someone you know are struggling with your mental health or wellbeing, and need support, we encourage you to reach out to the following resources:
The National Suicide Prevention Lifeline’s toll-free number, 1-800-273-TALK(8255), is available 24/7. The Crisis Text Line is a free text-message service that provides 24/7 support. Text a message to 741-741 to connect with a trained crisis counselor immediately. Resources from the NSPL are available online, here. Resources from the American Foundation for Suicide Prevention (AFSP) can be found, here. The Substance Abuse and Mental Health Services Administration’s (SAMHSA) National toll-free Helpline is available 24/7 at 1-800-662-HELP (4357)
Eric Prydz recently signed with CAA, and hopes to bring HOLOSPHERE to wider audiences in the United States. HOLOSPHERE shows were forced to be canceled after Tomorrowland and Creamfields announced their adjusted schedules for 2021, with both festivals occurring on the same date.
With the newly inked deal, Prydz will be represented by Alex Becket, whose roster also includes Lee Burridge, RÜFÜS DU SOL, and more. While part of the reason that HOLOSPHERE hasn’t been in the United States is because it is difficult to transport, Becket said,
“I don’t think there’s any there’s any trepidation or intimidation about that at all. Quite the opposite. We welcome that challenge. He’s got a team of experts around him, guys that don’t mess around. We’re just excited to see when are [sic] where we can get the Holosphere over here.”
Prydz had scheduled his HOLOSPHERE shows for 2022 following the news that Tomorrowland and Creamfields would both be taking place from August 26 – 29. Prydz will be making his return to the United States on Labor Day Weekend, over September 4 – 5, during ARC Fest‘s inaugural event in Chicago’s Union Park.
Pepe Roselló, the owner of the iconic Space Ibiza club, has started preparing plans to reopen, “before 2022.” The reopening of the club will also likely see Carl Cox returning for his legendary residency. While speaking with Noudiari, Roselló hinted that the club would not open this season, but does expect to be operational by the end of the year.
Space Ibiza closed its doors in 2016, following a 27-year run as one of the most singularly iconic clubs in the world. Roselló and Cox have made efforts to reopen the club in the past, however, the pandemic wound up postponing their plans. Now, with their license and the end of the COVID-19 pandemic in sight, Space Ibiza hopes to return.
While an official date for when the club will be reopened has yet to be announced, Ibiza is already gearing up for when clubs can resume. Ibiza hopes to open up to tourists beginning in June and will require vaccine passports, which will be recognized as Digital Green Certificates.
NI has added Beatport LINK and Beatsource LINK streaming functionality to Traktor Pro 3. LINK, which lets users stream Beatport’s entire catalogue into DJ software using an internet connection, was already available in rekordbox dj, VirtualDJ, Serato, Denon DJ hardware and more. You can build your playlists inside Beatport’s store and they’ll be available inside Traktor Pro. You can also access curated playlists from the Beatport team and from artists they’ve worked with to curate track selections.
Traktor Pro also offers Beatport LINK’s locker feature, which allows you to store up to 100 tracks offline, while tracks that you download in real-time are cached before they play in order to avoid any outages or connection issues (available in second public beta).
Any tracks loaded from Beatport or Beatsource – Beatport’s open-format DJ platform – can have cue points added, as well as loop points, metadata changed and be rated, and all will remain as part of the track when loaded again, even if you don’t own the track or have it in your locker.
Better Days: The Story of UK Rave, a new feature documenting the United Kingdom’s early rave scene, is set to delve into the 30-year history that has ultimately culminated in dance music culture’s permeation to the global masses. Helmed by MOBO Award-nominated director Hugo Jenkins, the film explores the confluence of events that transpired in the late 80s that brought underground raving to the forefront of UK’s hedonistic Second Summer of Love.
The documentary is set to feature a number interviews from dance music pioneers such as Sherelle, Denis Sultan, Paul Hartnoll of Orbital, Colin Dale, Terry Farley and Luke Unabomber, alongside newer acts like Afrodeutsche, Prospa and one of Dancing Astronaut‘s Artists to Watch in 2021, TSHA. The film’s score was composed by Overmono, accompanied by the release of two new cuts—Orbital’s “Chime (Special Request Remix)” and Dance System and Rush Davis’ “Better Days.”
Better Days: The Story of UK Rave is set to be released on May 28 and will be available to stream via the Amazon Music app and YouTube. Watch the project’s official trailer below.
Joel Chadabe was a composer who helped launch the notion of interactive music systems and electronic music education as it has now come to spread around the world. He passed at the start of this week, even as he continued educational work through this year.
Anyone already in my circle has no doubt seen an outpouring of admiration and condolences for a teacher, innovator, and friend, but I’ll compile some here. Joel was one of those people whose influence has propagated, partly through that immense work in teaching and building institutions for electronic music.
As a writer, he helped articulate the evolving medium of electronic music as both instrument and musical system. That includes co-authoring The Voltage-controlled Synthesizer: The Development and Practice of Electronic Music with Jon Appleton and Ronald Perera. (Jon is also in this category of ground-breaking composer and teacher, and co-developed the Synclavier digital sampler.)
Joel was a brilliant early champion of the concept of interactive music systems, including leading Intelligent Music which developed notions for interactive musical composition that remain innovative today.
And yes, that in turn includes publishing M, the intelligent composing system by David Zicarelli (which is still available via Cycling ’74 for reasonably modern-ish systems). I have to say, this was perhaps the first tool ever to really turn me on to the notion of interactive music and computer music in general.
And he founded and ran the Electronic Music Foundation (EMF), which is how I primarily came to know him (and his son Ben). Joel founded this organization out of NYC and Albany in 1994 with Julie Panke as its first Executive Director. (Julie is a name I suspect many won’t know, but she’s one of the few people who can say she’s been active in organizing both an electronic music organization and choirs, which I think is a good combo). Neil Rolnick and Paul Lansky were on the first board.
And EMF itself was a huge link in organizing events in the US, where state funding for electronic music was never, uh, anything like France. That made it essential glue between the US scene, Moscow’s Theremin adherents, IRCAM, ZKM here in Germany, and a who’s who of composers. (I could list them, but … just assume, like, all of them.) And at a time when the Web was evolving, they were instrumental in digitizing research, scores, and music, as well as organizing concerts. And that’s thanks to Joel’s foresight, influence, and a lot of his work (with the other folks in the organization).
I personally knew Joel not only through casual acquaintance with him personally but through that web of influence and ideas he managed to touch and the many directions other composers and technologists flew with that direction. And I think that’s the best thing all of us can do – share with others. Too often the history of electronic music looks for inventors. But thinking of people like Joel – or Max Mathews, or Pauline Oliveros, or John Chowning, just to name a few – so much of the real work has been spreading ideas. It’s musician-technologist-teachers.
Joel was always a constant presence in the New York scene – including his teaching at NYU – because of all those people he influenced as a teacher and through events.
And yes, so much music, too. To anyone who thinks there wasn’t experimental music made on the Moog system, you haven’t heard Blues Mix, obviously, with its dramatic attacks and organic free rhythms, just for one.
A rough timeline:
1960 – Studied with Elliott Carter
1965 – Joined SUNY Albany faculty
1968 – Commissioned the sprawling CEMS (Coordinated Electronic Music Studio) to be built by Bob Moog at the university, a landmark educational studio environment (and also worked on compositions with it and John Roy’s Daisy digital invention)
1977 – Bought the first Synclavier, thanks to the Rockefeller Foundation (hey, you can try them with your Reverb.com wishlist if you want, folks)
1986 – Founded Intelligent Music, developed M with David Zicarelli who would go on to Cycling ’74 fame
1998 – Reviewed Kyma for Keyboard Magazine, which evidently inspired his purchase (I only learned that today) – see their obituary
But Joel also worked as a founder of Ear to the Earth, which helps connect ecology and science. I think it’s more relevant than ever to hear what he was saying about cultural relevance – particularly as in Joel’s absence, new generations and new people around the world take on these challenges:
Joel Chadabe (December 12, 1938 — May 2, 2021), author, composer, entrepreneur, teacher, electronic music pioneer — more than that, a philosopher, a humanist who cared deeply about his students, his colleagues, his family, his friends, and the future of music and of the planet. Conversations with Joel invariably left you energized and inspired — the topics always strayed beyond any specific technology or personalities to deeper issues like the meaning of music and our purpose on this planet. He was a colleague, a friend, and, like a brother, sharing advice, support, encouragement, and high expectations over the years. He was an early, and unwaveringly enthusiastic Kyma supporter, using it both in his teaching and in his own compositions for live performers and electronics. In our final conversation just about a month ago, he was enthusiastically outlining plans to finish editing a book chapter on musical instruments, to turn the notes from his electronic music composition course at NYU into a new book, and to start on a new piece in which musicians all over the world would be linked together in a collective experience of making live music together. We salute you Joel, for a life filled with adventures, enthusiasm and ideas.
We’re at this Cuban diner just north of 125th street and it’s the summer. 1996 or 1997. You’re trying to simultaneously convince me to quit smoking and distribute my records with you. I agree to the last bit to get you to shut up about the first bit. We’re at the Knitting Factory, maybe 2001. We’re on a panel together that’s being “webcast”. We get into some convoluted bit about how to tell when a performer with a laptop is actually doing anything. I say some punk line about how it only really counts if it’s live. You respond by asking how often I have friends over to play chamber music in my apartment. Somewhere around 2004 I substitute teach your class without a syllabus because you don’t have one to give me. You were the fucking syllabus. I sit in the library for hours with your book open on the table making mix CDs for the students. We’re doing a Cage at 100 thing in 2012 at White Box and I can’t get the projector to stop tinting everything green. You ask me why I don’t write music anymore. I lie and tell you it’s because I quit smoking. We’re having dinner at the Odeon on March 16, 2019. We talk about family. I tell you a secret, and you pick up the check. Every conversation with you was a reminder that I was part of something larger than myself. There was a tapestry in your mind that had all our names on it, and it was incredibly important – urgent even – that we each knew the threads we were connected to. Any community would be lucky to have someone a tenth as good as you as their storyteller – someone to engage over and over in the quietly radical act of remembering. And so I will remember you, Joel Chadabe, for as long as I draw breath. Ben Chadabe your father was fiercely proud of you. I am so very sorry.
The Musicians’ Union has warned that the UK government’s plans to cut funding to arts subjects at universities will be “catastrophic”.
In a report carried out by the Guardian, it’s claimed that the planned cuts – which would affect the likes of music, drama, dance and performance arts – could come into effect as soon as autumn. According to a consultation by education secretary Gavin Williamson and the Office for Students (OfS), arts subjects were not “strategic priorities”. In his guidance letter to the OfS, he said: “The OfS should reprioritise funding towards the provision of high-cost, high-value subjects. We would then potentially seek further reductions in future years.”
As the trade union representing musicians working in the UK across all sectors of the music business, the Musicians Union signalled the potential fallout of the move. “The cuts will be catastrophic for most music provision at university level, affecting the financial viability of music courses and training for the next generation of musicians,” said Chris Walters, the MU’s national organiser for education. “Music was worth £5.8bn to the UK economy in 2019, which depends on properly funded university provision. The UK’s world-leading status in music and the arts could be in serious jeopardy from these cuts.”
The news comes off the back of hundreds of arts organisations signing an open letter to Boris Johnson regarding the post-Brexit touring crisis.
Stating that the new development is an attack on the future of UK arts, a petition has been launched to stop the funding cuts. Read and sign it here.
Last October, we investigated how the government’s response to COVID-19 could kill live music as we know it.
Berlin is on track to officially declare its nightclubs as cultural institutions, RA reports.
Having been previously classified as “entertainment venues” alongside brothels, arcades and casinos, the change in legal status will protect certain nightclubs in the German capital from gentrification, and means they will be permitted to open in more parts of the city. They will also benefit from tax breaks.
According to the Live Musik Kommission, an almost unanimous vote on Wednesday, 5th May, declared in favour of the recommendation to change the status of nightclubs and live venues from entertainment sites to cultural sites. On Friday, 7th May, the recommendation will be presented at the Bundestag and, according to Die Linke politician Caren Lay, is expected to be signed off without debate.
The news comes after a collective of club owners and supporters, known as Clubcommission, appeared in parliament last year to argue that clubs were “the pulse of the city”, annually attracting around 3 million tourists and contributing €1.5bn to the local economy. The appearance was part of a year-long campaign by the multi-party Parliamentary Forum For Club Culture & Nightlife.
Speaking about the change in status, Pamela Schobeß of the Berlin Club Commission said: “We would like to thank the members of the Parliamentary Forum in particular for their commitment and perseverance in this matter. With today’s decision, the Bundestag is sending a strong and long overdue signal to the republic.
“Music clubs are cultural institutions that shape the identity of city districts as an integral part of cultural and economic life,” she added. “Now, an outdated law is to be adapted to reality. This helps to keep cities and neighborhoods alive and liveable and to protect cultural places from displacement.”
Berghain was already recognised as a cultural instituion in 2016.
In December, 2020, news first broke that Square Inc. was interested in acquiring music streaming service Tidal. According to a recent report from TMZ, the deal has now been completed for $302 million in exchange for a majority ownership in Tidal. The deal was finalized between previous owner JAY-Z and Square and Twitter CEO Jack Dorsey. Details on who will run Tidal in the long run have not been publicized yet, but longtime Square executive Jesse Dorogusker while manage the company in the interim.
Tidal has two unique selling points over the competition: Tidal offers higher quality audio streaming than any other major service, and the service pays more to artists per stream than other platforms. However, by all accounts Tidal has far less active users than market leader Spotify or runner-up Apple Music. Jack Dorsey has not yet shared any visions for the platform going forward.
Featured image: Kevin Mazur/Getty Images For Roc Nation
TOLEDO is composed of lifelong friends Daniel Álvarez de Toledo and Jordan Dunn-Pilz. Growing up together, it’s no doubt that you’ll share the same interests and experiences. That’s why the two make the perfect duo, which they’ve conveyed through their music and writing. Their personable charisma, beyond-their-years technical abilities, and enduring love for each other are palpable in their songs and dynamic 5-piece live performances. Today, the Brooklyn duo share a new single “David.”
A compressed acoustic guitar introduces the calm sorrow tone of the song. Additions of enveloping reverb and careful plucks from the banjo really tie it all together for the track to become a dreamy, pensive folk song.
Dunn-Pilz reveals that the song is about his little brother, saying, “As siblings we share a lot of the same emotional baggage, but we process things differently as individuals. The song came out of a desire for healing in spite of those differences.”
Along with this new track, the two also released a B-side alternate version of”Sunday Funday” off their new EP Jockeys of Love. While the original version carried echoing guitar melodies, this new version emphasizes the country-sounding production with its stripped-down acoustic guitar and subtle whistles.
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