DJ Stingray 313 relaunches Micron Audio label with new EP

‘Molecular Level Solutions’ will be followed be a reissue of the electro don’s 2012 album, ‘F.T.N.W.O.’

Martin Guttridge-Hewitt

Wednesday, June 16, 2021 – 12:51

DJ Stingray 313 is relaunching his Micron Audio label, with a new EP from the boss arriving 24th September, ‘Molecular Level Solutions’. The first track from the new release has already dropped in the form of ‘Carbon Neutral Fuels’, which you can hear below. 

First launched in 2011, the imprint originally opened its release schedule with another extended play from the man in the balaclava, ‘Electronic Countermeasures’. Setting a high benchmark, the platform was responsible for some of Detroit electro’s finest moments of early-mid-naughties. 

The EP will be followed by a reissue of Stingray’s seminal 2012 album, ‘F.T.N.W.O.’, with the reactivated Micron Audio promising to platform emerging artists and continue to put out choice re-releases.

Dive into DJ Mag’s cover feature, which explains how DJ Stingray is the future-focused selector at the helm of the electro renaissance, then check out the forthcoming 12 x 12″ boxset to mark the 30th anniversary of Berlin institution Tresor, on which he features.

John Jay ushers in the summer on “Show Face”

Emerging singer/producer John Jay is already in full summer mode as he drops this sunlit party jam titled “Show Face.” The self-produced track is brimming with lush tropical synths, choppy grooves, and a well-chopped vocal sample from the viral hit “Dreamgirl” by Ir Sais. As a singer, Jay owns his own production with a sultry melodic style and carefree demeanor as he ushers the listeners into the party atmosphere. His production is crisp and the way he sampled “Dreamgirl” is unique and if you don’t really listen well you might just miss it.

“Show Face” is one of Jay’s releases showcasing his foray into production since he started playing various instruments since he was 5. As a multi-instrumentalist, he is well-versed in the piano and the violin and currently, he is based in Miami where he has been slowly building his resume since he moved there about a decade ago. He is presently working on more musical projects so the possibility of more singles is quite high for the blossoming R&B producer.

Connect with John Jay: Website | Facebook | Spotify | Instagram

Petition to “bring back Daft Punk” rejected by UK Government, obviously

A petition to “bring back Daft Punk” has been rejected by the UK Government. 

The fan-led campaign was launched following the French electronic duo’s decision to call time on their legendary partnership. Despite the clear case for a forced reunification, the official response claims responsibility doesn’t lie with Westminster, but the artists, Thomas Bangalter and Guy-Manuel de Homem-Christo.

“Bring back Daft Punk and we want a new album for the pain they’ve put us through, and collabs with The Weeknd and Julian Casablancas!,” the petition reads. 

According to the reply: “Any decision to re-form Daft Punk, and any potential collaborations, is a matter for them, not the UK Government or Parliament. You may Get Lucky and find they choose to reform One More Time. We only reject petitions that don’t meet the petition standards.” 

Any British citizen or UK resident has the right to create and sign a petition proposing changes to policy or law. At 10,000 signatures government response is required, and any campaign to reach 100,000 signatures must be debated in parliament itself. The official Daft Punk petition data shows only seven people signed in support. 

Throughout the pandemic, this system has been used to highlight a number of major concerns from the UK music and cultural sectors. Recent examples of campaigns that did make it to parliament include VISA-free touring between Britain and the EU following Brexit, which surpassed 200,000 signees in January. An ongoing move to stop proposed 50% cuts to arts funding at UK universities currently has 165,885 names on its list. You read more on that and make your voice heard, here

Moog Music deny claims in lawsuit alleging workplace misogyny, discrimination and abuse

Moog Music has denied claims by a former employee in a lawsuit that reportedly outlines cases of misogyny, abuse and discrimination. A post on a local website, The Asheville Blade, outlines the case against Moog Music, which reportedly describes mental, verbal and physical abuse by Moog Music staff, as well as misogyny and discrimination against former employee Hannah Green. 

In the lawsuit, Green reportedly claims she was abused by colleagues over a number of years, and when the abuse was reported to HR, no action was taken. The complaint, reportedly filed in federal court in March 2021, “alleges that the company repeatedly violated Green’s civil rights, citing multiple causes of action, including two separate discriminations based on sex, plus breach of contract, emotional distress, retaliation, and wrongful termination.”

According to her attorney Sean Sobeleski, Green is seeking $1.1m in damages. 

The full report on the allegations against Moog Music can be read on the Asheville Blade

Moog Music issued the following statement to DJ Mag in response to the claims: 

“This statement concerns unsubstantiated allegations made within an online article that recently appeared in the Asheville Blade. The article details supposed incidents of an ex-Moog Music employee who filed a lawsuit against Moog Music claiming discrimination and retaliation. Moog categorically denies these claims, which are false. The author of the Asheville Blade article did not contact Moog Music or give us an opportunity to comment, respond to, or refute any of these false allegations.

“Given the matter is subject to pending litigation, we can only comment on some of the facts. First, this former employee filed a charge of discrimination with the U.S. Equal Opportunity Employment Commission (EEOC), and the EEOC subsequently investigated and dismissed the claim. Second, Moog Music conducted its own internal investigation and found that the allegations of the accuser regarding discrimination and retaliation to be unsubstantiated. 

“We recognise that discrimination and abuse is too common of an occurrence at workplaces around the world and we stand as allies with those who have experienced these inexcusable behaviours. We trust that people who know our organization, have been to our facilities, and have interacted with our employees, know that they are loving and respectful people. Our executive leadership (50% female/average female tenure ~9 years) will continue to focus on providing a safe and nurturing environment for our employees and will have nothing further to say on this matter until the litigation is finalised.”

Run-DMC, Grandmaster Flash, Larry Levan, more feature in new exhibition on early ‘80s New York music

Run-DMC, Grandmaster Flash, Larry Levan and more feature in a new exhibition on early ‘80s New York music, which opened Friday 11th June.  

Held at the Museum of the City of New York, ‘New York, New Music: 1980-86’ promises to examine “the seismic creative revolution of New York City in the 1980s”,  spanning formative house music and hip hop, the punk and new wave of CBGB, the last days of disco as once was and more. 

Artists like Talking Heads, Madonna, John Zorn, Beastie Boys, Sonic Youth and Debbie Harry feature in some form, with highlights of the showcase including innumerable flyers and vinyl records, Kid Creole’s Zoot suit, various ephemera from Keith Haring and Levan’s ‘Party of Life’ at the Paradise Garage, and rare performances footage of Big Apple icons. Opening just ahead of MTV’s 40th anniversary on 1st August, the entertainment broadcast giant occupies some space, too, with a Music Awards Moon Person statue on display.

Meanwhile, the main gallery area focuses on 14 ‘moments’ of historic significance. These include Funky 4+1 on ‘Saturday Night Live’ in 1981 (the first rap group ever to appear live on US national television), and Arthur Russell’s ‘Experimental Intermedia Foundation’ shows in 1985. Afrika Bambaataa, the Cold Crush Brothers, and the Fantastic Five’s graffiti art exhibition and performance, ‘Beyond Words’ at Mudd Club, is also highlighted. 

“The early 1980s were a time of significant transition in  New York, with the city facing crime,  urban decay, and  homelessness. And yet, despite those challenges, it was also a particularly fertile time for music and other creativity in New York City,” says Whitney Donhauser, Ronay Menschel Director and President, Museum of the City of New York. “The musical innovations of this time period are a great example of the resilience of the city and the importance of art and creativity as forces of transformation.” 

“During the 80s, there was a community-driven musical renaissance in New York City. It was an era of creativity and genre-defying performance that, in my mind, stands as one of the most influential in musical and cultural history,” says Sean Corcoran, curator of prints and photography, Museum of the City of New York. “That wide range of music — from no wave to pop to hip-hop to salsa to jazz mixed in a dynamic arts scene that stretched across clubs and bars, theatres, parks, and art spaces– provided fertile ground for a musical revolution, one that continues to influence pop culture to this day.” 

As a result of the COVID-19 pandemic, attendees are asked to bring their own corded headphones where possible to make full use of the accompanying soundtrack, snippets and excerpts. Disposable headsets are available on request. The exhibition comes at a hugely important time for music and nightlife in New York, with a recently announced 60,000 capacity “grand reopening” concert pegged for Central Park in August following confirmation that some venues will be allowed to run at maximum capacity for crowds that are fully vaccinated against coronavirus. 

Image: Larry Levan courtesy of Bill Bernstein / Museum of the City of New York

Jon Casey, capshun stay lucid on ‘Fever Dream’

Jon Casey, capshun stay lucid on ‘Fever Dream’Jon Casey Insta

capshun and Jon Caseyprofiled in Dancing Astronaut’s 5 Under 15K, a feature that spotlights rising acts with 15K or fewer Soundcloud or Spotify followers—are a veritable “Fever Dream” on Jadū Dala. The tie-up brings the heat with a slow and syncopated chant that fluidly evolves into an assembly of building kicks. Packaged with crowd-pleasing bass, “Fever Dream” is available to stream below.

Having taken to RL Grime’s Sable Valley imprint earlier this year alongside one of Dancing Astronaut’s Artists to Watch in 2021, Cozway, Casey hasn’t taken his foot off the gas since he sparked onto the scene in 2017. And, with “Fever Dream” landing on three Spotify playlists including Hype, Trap Mojito, and Friday Cratediggers, not to mention Casey now rounding out 50K monthly Spotify listeners, it’s clear that his immovability in the electronic context is in fact no “Fever Dream.”

Featured image: Jon Casey/Instagram

The post Jon Casey, capshun stay lucid on ‘Fever Dream’ appeared first on Dancing Astronaut.

Sable Valley crowns first remix competition winner—stream Altare’s ‘Singularity’ spin

Sable Valley crowns first remix competition winner—stream Altare’s ‘Singularity’ spinRL Grime 1

After announcing the first of an ongoing series of Audius-hosted remix competitions in late April, RL Grime’s Sable Valley has named Altare as the winner of its “Singularity” remix contest. Altare’s take on the REMNANT.exe original is a mosaic of melodies and hard dance elements that, together, prove a suitable fit for the Los Angeles-based imprint.

Though Altare reigns as “Singularity’s” choice remixer, Sable Valley has yet to reveal the victorious revisionists of Deadcrow‘s “Fallout” and “THERA,” respectively. With the news assuredly not far off, listeners can spend the time in between streaming Altare’s spin below.

Featured image: Rukes

The post Sable Valley crowns first remix competition winner—stream Altare’s ‘Singularity’ spin appeared first on Dancing Astronaut.

The Prodigy announce ‘Breathe’ revamp with Wu-Tang Clan’s RZA

The full track drops this Friday, June 18th

Christian Eede

Tuesday, June 15, 2021 – 12:43

The Prodigy are releasing a new version of their classic 1996 hit ‘Breathe’ later this week.

The updated version of the track features guest vocals from Wu-Tang Clan founding member RZA, and is produced by The Prodigy’s Liam Howlett alongside Canadian drum & bass producer René LaVice. 

The track was first teased via a post on The Prodigy’s Instagram page, which revealed a release date of June 18th. The post, which you can find below, also featured a short clip of the remix.

The rework follows on from a recent clip shared by The Prodigy, showing them in the studio working on new music, while the duo’s Maxim also recently teamed up with London artist Dan Pearce for a new music and art project.

RZA, meanwhile, recently confirmed that Wu-Tang Clan fans could expect a second season of the group’s ‘American Saga’ TV series later this year.

Government’s misclassification of venue owners as ‘dead’ delays much-needed aid

Government’s misclassification of venue owners as ‘dead’ delays much-needed aidClosed Sign Paramount Washington Ted S Warren

Venue owners across the United States are incorrectly being registered as “dead” in the Social Security Administration’s Death Master File (DMF), barring their ability to collect funds administered through the Shuttered Venue Operators Grant, which totals $16 billion dollars of relief, The New York Times reports.

Notably, the owner of Maryland’s Bobby Mckey’s, Bob Hansan, received an email stating that his name “appears on the Do Not Pay list with the Match Source DMF,” according to The New York Times. The government uses the DMF as a record of dead citizens who should no longer receive government-issued payments. As Hansan is not the only venue operator to be put into the system, the incorrect DMF registrations point to a repeated pattern of governmental inaccuracy when verifying the living status of venue owners eligible to receive aid nationwide.

To correct the misfilings, operators must send a letter to the government confirming the they are, in fact, alive. Because this process can take several weeks, some venues are being granted upwards of $500,000 while others will receive nothing for the foreseeable future.As of June 4, only 50 venue operators had received any monetary relief from the grant.

Via: The New York Times

Featured image: Ted S. Warren

The post Government’s misclassification of venue owners as ‘dead’ delays much-needed aid appeared first on Dancing Astronaut.

IK Multimedia Intros Cinekinetik Collection For SampleTank

IK Multimedia Intros Cinekinetik Collection For SampleTank
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IK Multimedia shared this preview of Cinekinetik, a collection of cinematic SampleTank sound libraries.

The collection brings together four SampleTank libraries that they call ‘futuristic acoustic instruments.’ You can preview the set and the individual libraries via the playlist embedded above.

Features:

  • Contains Shipwreck Piano, Fractured Piano, Malletopia and Malletension
  • Over 20 GB of deeply sampled original instruments and 250 presets
  • Shipwreck Piano and Malletopia include vintage hardware reverbs to explore
  • Ideal for adding energy, tension, mystery or suspense to any composition
  • Works with all versions of SampleTank 4, including free SampleTank 4 CS

Pricing and Availability

Cinekinetik is available now with an intro price of $99.99 (normally $149.99).