William Black, Dancing Astronaut SupernovaHALIENE, and Thomas Laurent stand behind the uplifting “Only One I Need,” an anthem of self-empowerment positioned for summer’s main stages. The single’s lyrical script is centered on “the beautiful moment when you realize you’ve finally crossed the threshold from heartbreak to healing,” HALIENE wrote in a tweet that preceded the triad’s team up. “We can be so consumed by our own pain that we can think of nothing else, until one day we wake up and realize it hasn’t crossed our mind.”
“Only One I Need” succeeds William Black’s recent respective one-offs, “Remedy” and “Deep End,” both of which arrived via Lowly. It also caps off the recent news that both Black and HALIENE will appear at EDC Las Vegas in October, a booking that represents HALIENE’s first solo slot at Insomniac’s flagship event. The former is also slated to play Lollapalooza. Stream “Only One I Need” below.
Electrifying the electronic release ring with its cross-era fluidity, the ethos of DESTRUCTO and TroyBoi‘s “You’re the One For Me” is as follows: “bring that old-school sound with the new shit.” As just one spin of the ’80s-guided partnership of epic proportions indicates, you can consider this done. Merging retro flair with contemporary whimsy, “You’re the One For Me” is a dance-inducing jaunt to get down to. Padded with bass and playful progressions, the single—DESTRUCTO’s first of 2021—struts forth to ALL MY FRIENDS to make a year-opening statement.
“You’re the One For Me” formalizes DESTRUCTO and TroyBoi’s first-ever tie-up, extending their working history, which started in 2018 with the latter’s remix of the former’s “Fucking Shit Up.” The zippy tune trails TroyBoi’s June 11 remix of Anitta and DaBaby‘s “Girl From Rio.” Get in on the action below.
Let David Guetta‘s “Love Tonight” remix set the scene: a sweltering, crepuscular club, clustered with nondescript silhouettes, the power of the beat about to break nearly palpable. That’s precisely what dance devotees have longed to get back to amid the interminable COVID-19 pandemic, and as venue operators dust off dance floors across the nation to welcome all types of footwear back on them, David Guetta is doling out a spin of SHOUSE‘s “Love Tonight” to galvanize the underground’s reclamation of live programming.
Guetta’s take catalyzes a blast from the past, calling the December 2017 original back into the electronic foreground with climactic, trembling technics that depart in dark, delicious fashion from the raging, adrenaline-spiking future rave sound that Guetta and MORTEN have popularized, and that most recently informed “Impossible” with Dancing Astronaut‘s May Supernova, the ever-inimitable John Martin.
One of the most hotly contested questions about Sequential’s Prophet-5 Rev4 synthesizer is how close it sounds to the classic Rev3 original, which sells for about $5,000 more than a Rev4.
To help answer this question, synthesist Alex Ball recently shared a blind test, embedded above, comparing a vintage Prophet-5 Rev3 against a new Prophet-10 rev4. The video is set up as a blind test, where you see the same clip twice, but in one you’re hearing the Prophet you see and in the other you’re hearing the Prophet you don’t see.
Now Ball has shared the results of this comparison, and it turns out that – at least in this blind test – people can’t accurately tell the difference between the sounds of the two synths.
People guessed the correct synth 55% of the time, slightly better than what you’d expect from flipping a coin. And nobody had ‘golden ears’ good enough to let them consistently tell the difference between the two synths.
These results were to be expected, because the Rev4 is not intended to be a new synth, but a reintroduction of the classic Prophet-5 design.
What’s probably most interesting about the test, though, is that people did guess a little better than average, and they did better at guessing some sounds than others.
This reflects the fact that there are differences in the two synths’ designs and capabilities. And, on some sounds, these differences are more noticeable than others.
For example, the Rev4 features the ‘Vintage’ knob, which lets you vary the level of per-voice analog variation of individual synth voices, from ‘temperamental’ Rev1 to ‘stable’ Rev4. This is an awesome feature, but it’s not going to make a Rev4 sound exactly like a specific vintage Prophet-5 Rev3, just like some vintage Rev3.
The way these sort of differences show up in the test results is that there are a few sounds where users guessed a lot more accurately than others. For example, on the third sound in the test, there are more audible differences, and people guessed the correct synth about 66% of the time. This suggests that the sonic differences in some patches may make it easier to identify one synth vs the other.
But there are also patches where people did worse than what you’d expect from flipping a coin. People guessed wrong on the third sound test 57% of the time.
Unfortunately, the small sample size of this test (148 people) means that some of variation in the accuracy of people’s guesses is indistinguishable from what you’d see if you just flipped a coin.
If you flipped a coin 148 times and guessed heads, you might expect be right 50% of the time. Try it a few times, though, and you’ll find that you may get ‘heads’ 40% of the time on one test, and 55% on the next.
It takes a lot of coin tosses to minimize this random variation. Because of this, small sample sizes make it harder to distinguish the difference between the variation of actual people making binary choices and the variation you’d see from just flipping a coin.
If we had to judge the results of this blind test, the loser would be our ears – the differences between these synths are subtle enough that people can’t accurately distinguish them from hearing their sounds. On the other hand, the winner would be our wallets. If you want a Prophet-5, the Rev4 sounds like a classic, costs a lot less and adds velocity, aftertouch, USB support and other features.
Check out the blind test and results – and then share your thoughts on the results in the comments!
With rumours gathering pace that the UK government may delay the full relaxation of social distancing measures currently planned for June 21st, the Night Time Industries Association (NTIA) has issued a warning that any such decision will be “catastrophic” for the hospitality and night-time sectors.
“Night Time economy businesses have waited patiently for their opportunity to open for 15 months,” the NTIA’s CEO, Michael Kill, said, adding that “many have not survived, some are on a cliff edge, hundreds of thousands of jobs have been lost, a huge pool of talent has been swept away and left to suffer extreme financial hardship”.
He continued: “We should not underestimate the importance of the 21st June to these businesses, employees, entertainers and freelancers, a day when they are given back their freedom to trade, livelihoods, careers, social well-being, and the day that the government gives culture back to the UK.
“These businesses have adapted, overcome and survived for an exceptional length of time with the bare bones of support, and have arrived at this opportunity to find that it could be taken from them. Let’s not torture them by leaving them hanging on until Monday [June 14th].”
Kill says a number of businesses within the hospitality and night-time sectors have already made financial and logistical commitments to reopen from June 21st, with 54% of surveyed businesses having already ordered stock, 73% having called in staff and 60% having sold tickets. 64% of surveyed businesses have already booked entertainment for events taking place from June 21st, while 80% have financed marketing and promotional materials.
With the final decision on reopening set to be made on June 14th, the NTIA has said that it will work alongside “key partners” to challenge the government and push for further support should there be any delay to the current plans.
“The decision to delay will leave us no other option but to challenge the government aggressively, standing alongside many other industries who have been locked down or restricted from opening,” a statement by Kill concluded.
The statement comes amid reports that a number of UK nightclubs are considering going ahead and reopening their doors from June 21st in spite of any possible delays. Theatre entrepeneur Andrew Lloyd-Webber also vowed to reopen his theatres at full capacity later in the month regardless of delays, and said that the police could arrest him for doing so if they liked.
This latest intervention from the NTIA follows a warning last month that 75% of night-time businesses in the UK are facing a bankruptcy ‘cliff edge’ without rent support from the government, with an end to the government’s rent moratorium coming at the end of July.
Read DJ Mag’s recent feature on how a return to clubs and festivals might work in a post-pandemic society here.
It has only been a few months since Dutch duo Vicetone shared their 10-track debut LP, Legacy. In celebration of their passion for making music, they have produced a bootleg version of The Weeknd‘s “Save Your Tears” for fun, and it is now available on their YouTube channel.
Vicetone layer lush dance notes over the original production to yield high-energy breaks that fuse The Weeknd’s vocals with buoyant progressive house notes, making for an uplifting alternative version of “Save Your Tears.” The duo spoke about the remix in an official release, stating,
“We absolutely love the original and really wanted to remix it with our signature Vicetone sound. We can’t wait to play this remix in our live shows. Now that we are finally back touring it’s the perfect time to put this out. We love the energy and we’re excited to see everyone’s reaction to it in our set.”
The nominees for this year’s AIM Independent Music Awards have been announced, with Bicep and Floating Points among those bagging two nominations each.
Bicep have received nominations in the International Breakthrough and Best [Difficult] Second Album categories, while Floating Points has been recognised in the Best Independent Remix category, for his remix of Thundercat’s ‘Fair Chance’, and Best Independent Album category, for ‘Promises’, his collaborative album with Pharoah Sanders and the London Symphony Orchestra.
Elsewhere, India Jordan and Conducta have been recognised among the UK Independent Breakthrough nominees, and Ninja Tune artists Jayda G and 박혜진 Park Hye Jin join fellow label act Bicep in the Independent Breakthrough category.
Bonobo & Totally Enormous Extinct Dinosaurs’ track ‘Heartbreak’, and shygirl’s track ‘TASTY’, are both nominated for Best Independent Track, and Krust’s ‘The Edge Of Everything’, Speaker Music’s ‘Black Nationalist Sonic Weaponry’ and Rian Treanor’s ‘File Under UK Metaplasm’ all join ‘Promises’ in the Best Independent Album category.
Across other categories, there are nominations for Leon Vynehall, SOPHIE and AJ Tracey, among others.
Rising melodic bass star Ace Aura has released yet another heavy hitter, “Cyber Cuddle.” Profiled in Dancing Astronaut‘s 5 Under 15k series in October 2020, Ace Aura has continued to expand his audience, garnering support from the likes of Subtronics, TYNAN, and Tokyo Machine, among others, in the process. “Cyber Cuddle,” the follow-up to May’s “Resist,” can be streamed below.
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