ILLENIUM permanently etched his name into the dance music history books on July 3 with his TRILOGY blowout. Becoming the first artist to ever perform inside Las Vegas’ newly raised Allegiant Stadium, ILLENIUM took a golden opportunity to say one last in-person goodbye to his first three LPs, Ashes, Awake, and Ascend, before Fallen Emberssteps through the release doors on July 16.
Whether you were fortunate enough to be in Sin City or were one of the thousands enjoying the 4K, 16-camera livestream, everyone can agree that TRILOGY served as a career-defining evening for ILLENIUM—where he broke the venue capacity record for dance music events within the U.S.—and the ultimate way for him to not only pay his farewells to his previous albums, but also to usher in the fourth chapter of his music.
Before relocating to the actual stage that sat at the edge of the field’s endzone, ILLENIUM initially appeared in the middle of a packed Allegiant Stadium crowd while he stood atop a smaller, completely separate booth. After an hour walk right down nostalgia lane that ignited with his fan-favorite Ashes intro edit, ILLENIUM went on to revisit both Awake and Ascend in their entireties, bringing out none other than his two best friends in Said The Sky and Dabin for a pair of chilling live renditions of both “Where’d U Go” and “Gold.” The night would cap off with a 20-minute Fallen Embers preview, with ILLENIUM rinsing through an electric blend of “Sideways” and his unreleased co-remix with Virtual Riot of the album’s Tori Kelly-assisted cut “Blame Myself,” “Heavenly Side” with Matt Maeson, and finally “Crazy Times” alongside Said The Sky and Rock Mafia.
Rewatch all four of ILLENIUM’s TRILOGY sets in full HD below, courtesy of the absolute legend illeniumINTEL.
Nightclubs in England will be able to operate at full capacity, with no restrictions in place from 19th July — pending confirmation of stage four of lockdown easing next Monday (12th July) — Prime Minister Boris Johnson has announced.
In a press conference today (5th July), Johnson announced the parameters for the next stage of its roadmap out of lockdown, with almost all COVID-19 restrictions being lifted, including the obligation to wear masks, social distancing and restrictions on gatherings. He didn’t confirm the date for reopening during the press conference, but described the chances of it remaining as the delayed date of 19th July as likely.
Clubs and festivals in England will be able to operate without restriction, with no proof of vaccination required for attendees. The news comes after it was reported last week that Michael Gove, the Cabinet minister leading a review on COVID-19 vaccination passports, allegedly believed it would be “too much hassle” for health checks to be required prior to entry into venues. Clubs, pubs, restaurants and theatres will still be able to voluntarily adopt vaccine certification for entry.
While there will no longer be any requirement for people to sign in with the NHS app in venues, attendees will be encouraged to do so. A spokesperson for the PM said, it’s a “good thing to do to support contact tracing but as more people are allowed into venues without booking, it becomes more challenging operationally.”
Johnson emphasised that this isn’t the time for people to get “demob happy”, saying everyone needs to remain cautious due to the rising infections of the virus, but wants to encourage individuals to take personal responsibility for suppressing Covid rather than sticking to “government diktat”. The prime minister’s announcement comes as cases continue to rise across the UK, with 27,334 new cases being reported today.
Fully vaccinated individuals will also no longer be required to isolate upon returning from countries on the UK’s amber travel list. One of the only rules to remain in place will be the requirement to isolate after testing positive for COVID-19.
Speaking at the press conference, Professor Chris Whitty, Chief Medical Adviser to the UK Government, explained that, despite there being a need for some degree of social distancing to remain in place, there are clear advantages to easing lockdown during the summer months rather than in autumn. This is due to the additional pressures that the NHS faces alongside Covid admissions during colder months.
Read our recent feature on whether clubs can really reopen on 19th July here.
In a cycle echoing a controversy earlier this year, Audacity’s new parent again released new legal terms which were then seized upon by social media users. Muse Group have clarified those issues publicly and to CDM.
When legal and social media experience phase cancellation
Muse Group, the company that began Ultimate Guitar and acquired MuseScore, acquired popular free and open-source software Audacity this year. As acquisitions of well-liked products are apt to do, that spurred some concerns and mistrust. But in and of itself, there is nothing unusual about “acquiring” free software – software under open-source licenses can be owned (under various forms of governance) and can represent big business.
In May, Muse triggered some controversy by updating their Contributor License Agreement (CLA) and switching to a GPLv3 license. If your eyes glazed over, that’s fine – there’s nothing especially exciting about any of this, and it’s well-explained in an FAQ and statement. The problem is, they released that information after updating the CLA – so, while the CLA changes were in fact bog-standard for software being released across multiple platforms (including Apple’s iOS store) and multi-licenses, people freaked out.
The lesson to communications here – and Muse are far from the first developer to discover this – is that you might want to release the explanation at the same time if not before the confusing and potentially incendiary legalese your lawyers came up with.
As a result, you may have seen various freakouts, like this article on a site called FOSS Post:
Let me put this bluntly: they’re not tracking anything you need to worry about, they’re not selling any data, there are strict controls over how the data is used, and the version hasn’t even shipped yet. That doesn’t mean you shouldn’t worry about the future of Audacity at Muse, only that this was a communications snafu that unfolded today, not a crisis that means you should delete an audio tool you use.
Muse also responded to CDM’s queries with further clarification. Here’s what you as an Audacity user need to know:
Version 3.03 will introduce the changes, says Muse; the current downloadable stable build 3.02 has no data collection. (This means the cries to delete the software now were simply wrong.)
Muse says they have no plans to use the Google or Yandex SDKs for user telemetry, contrary to what some outlets reported earlier today. You can read a discussion on GitHub on implementation.
The test collection mechanism will be opt-out, though Muse says “actual mechanics are still being defined.”
The data they’re collecting is IP address, basic system info (your OS and CPU), and (optional) error report data.
As with updating the CLA, there’s nothing there that is any different from other software that collects crash data, which these days is fairly standard procedure. And I can’t emphasize this enough – from a user standpoint, the reason I might hesitate to recommend Audacity is that it’s buggy, not that it’s some kind of privacy hole. Developers I spoke to had a similar analysis.
Audacity also say in the clarification regarding user data: “We do not and will not sell ANY data we collect or share it with 3rd parties. Full stop.”
The other element was the mention of law enforcement, and it’s clear that part of what set people off was the mention of data storage in the Russian Federation. But hashed IP data with your OS is not particularly sensitive private information. Essentially, some of this text agrees in the policy agreement because of legal compliance issues in different countries. It means that even though what you’re actually collecting is just which version of Windows caused a particular crash, you’re obligated to call something like an IP address with no other identifying information “Personal Data.” That legal obligation is inside the EU.
I think it’s also unfair to single out companies based on their country of operation – not unless you’ll also be balanced in that analysis. While companies (and even engineers) are routinely singled out in Russia or China, note that just last month the House Intelligence Committee let slip that the US Justice Department had subpoenaed data from Apple. That’s not to ignore Russia or China; on the contrary, it suggests being vigilant (and accurate) about data usage absolutely everywhere in the data landscape in which we currently find ourselves.
Data on the Web
When you visit fosspost.org, we receive your IP address, browser user-agent and some other cookies your browser may provide us with. Some of this data is stored at our backend servers and some of them are stored remotly [sic] at 3rd-party services or the hosting company and CDN we use.
In other words, just reading the article on FOSS Post means you gave them essentially the same data a future, non-shipping version of Audacity would collect – IP address and OS. That’s even before taking into account cookies and ads. Obviously, this site (CDM) does the same, as we are all, like it or not, part of the same basic regimen of how advertising currently works on the Web.
With all due respect to various critics today, I think their desire to advocate for a fork has gotten ahead of their responsibility to share information that is accurate. A fork might well be a good idea – and it’s part of the freedom in open source software. Forks don’t have to be motivated by misdeeds; a community effort might go a different direction than Muse Group does.
But if you use Audacity and you’re worried you need to delete it, don’t – not for now. And because privacy is an important issue, we need accurate information.
Meanwhile, yes, if you’re a developer, maybe try to avoid your legal team sharing information before communications looks at it, and think of your audience.
From the user standpoint, though, mainly we will just be keeping an eye on Audacity and see how it evolves as a tool under Muse’s ownership.
I’m still interested to hear more about your experience with Muse – particularly with MuseScore or its subscription service, as it inhabits a different space than Audacity does.
Berlin’s Love Parade is set to host a “fundraver” live stream for its 2022 event.
After coronavirus restrictions forced the team to cancel this year’s event, organisers announced in January that it will return in a new, not-for-profit guise, Rave the Planet, in July 2022.
They have now teamed up with TikTok for a six-hour ‘fundraver’ live stream. Set to broadcast exclusively via TikTok on Saturday, 10th July, the fundraiser will feature six DJs from across Germany who are closely tied to the event, including DJ, producer and Love Parade founder Dr Motte. Ann Clue, Klanglos, Mark Dekoda, Stella Bossi, and Nakadia will also perform.
“Rave The Planet is a non-profit organisation dedicated to the spirit and culture of electronic music,” organisers said. “Our initiators are artists, ravers, entrepreneurs – including the inventor of the Love Parade, Dr. Motte. With our work, we want to make a sustainable, positive impact on techno culture.”
Rave The Planet also recently outlined the organisation’s three major goals: to protect, promote and develop the culture of electronic dance music in all its forms, to classify the culture of electronic dance music as an Immaterial Cultural Heritage under the UNESCO, and to establish the annual street party, based on the original values of Love Parade and “progressively designed for the 21st century”.
After launching in 1989, the Love Parade took place across Germany in various cities including Berlin and Ruhr. The final Love Parade, which took place in 2010, ended in tragedy after 21 people were killed and around 500 others injured following a stampede caused due to overcrowding at the event.
The cult classic Sonic Potions LXR-01 kit finally gets a worthy follow-up – the LXR-02, made in collaboration with Erica Synths. It’s a digital drum synth + FX + sequencer in one very compact unit.
The LXR-02, like the DIY-only LXR-01 before it, has a lot going for it. It’s really, really compact – I have one sitting right here – fitting nicely under your palm. But whereas other compact units are knobs-only, you still get individual faders for each of six voices.
It’s a drum synth, it’s a synth synth, it’s full of wonderful and unique sounds. It isn’t an x0x Roland thing, but it can techno and whatnot, or go somewhere else altogether and get ambient and experimental. It’s – just when we need it most – something different. Erica did this wonderful demo just to prove that:
News leaked unintentionally last month, but now we have full details. I’m finshing up my full review based on a recently updated firmware – I’m writing words, for those who still like those, along with some sounds. But I thought I’d go ahead and get the news up and some comparisons to the original LXR-01 so you can ask questions about what you might like to know while I polish this off.
What’s clever here, apart from the size, is that you get a sound engine with six different dedicated synth instruments. So, while we have plenty of sample-playback drums out there and models or reproductions of some analog classics, this lets you experiment with a wider sound palette and actual synthesis.
Full specs from Erica:
6 drum voices
Powerful sound design engine
Over 30 adjustable parameters per voice
Voice volume sliders
Insert FX section
4 assignable 6,3″ jack outputs (2x stereo or 4x mono)
Full-size MIDI in/out
Flexible, performance-oriented 64 step sequencer
Performance mode with mutes, rolls, master bit-crush, and kit morphing
Kit, Pattern, Performance, and Song memory
SD card for easy FW updates and Project backup
Extensive MIDI implementation
Durable and compact aluminium casing
And they’re now taking orders, shipping this month – if you need some drums in your summer (or southern hemisphere winter).
The price is also appealing – 490 EUR / MAP US$599 means this is a boutique instrument that’s still in the same price range as that mass-market stuff.
They’ve also retained the general look and arrangement of the LXR-01, seen here:
But taking that 6-voice architecture, refining its functionality, making it even more compact and adding faders – all in something that is ready-made rather than kit-only – is terrific.
The LXR-02 doesn’t feature 6 outs, but with four outs total and assignability, that’s hardly a demerit – and it still leaves room on this compact design for dedicated analog clock in and out (and rest), an SD card, MIDI in and out, and USB connectivity.
Red Means Recording have done a video walkthrough:
So, got questions? What do you want to know? Let me know and I’ll have a look. Also, you can try to dare me to do a livestream performance and Q&A with this; I might be up for that.
Mexico City label NAAFI have announced the debut album by Chilean producer Cristo Gavras, aka IMAABS.
Recorded and composed in Santiago de Chile between November 2018 and March 2021, ‘Descifrar’ will be released via the imprint on Friday, 9th July. Pre-order via Bandcamphere.
Describing the album – which spans ambient, pop, techno, reggaeton, noise and more – IMAABS said it relates to “transitions, affections, precarious loves; disconnected yet connected at the same time. The flows of images, emojis, memes, memories, desires; fragments that flood the ways of perceiving and bonding.”
“We are in a scission, but also in a programmed and fragmented iteration of encounters,” he continues. “All of this mutates us experiencing distances and emotions that are not properly human. Rather this kind of alienation creates new feelings and new perceptions.
“It’s therefore possible for new encounters to exist, too. Beyond heartbreak, pain, frustration and hopelessness, there is a kind of small constant hope of active desires that runs through this work.”
Stream lead track ‘Trying’, featuring Tama Gucci, below.
Tom, who has worked with the likes of Arturia, Kilohearts, GForce, and some Grammy and Oscar winners, writes to let us know about the Synth Vault – 20 free preset each month, plus tutorials to learn how to go beyond them.
Presets are routinely vilified, and I know it’s hilarious to sound designers when press-play presets show up on TV or tracks. (Ahem.) But the key as routinely championed on this site is whether you see a preset as the end point – or the starting point.
And wow, has Tom ever come up with a starting point. Each month features:
Arturia Pigments presets
U-he presets (across Urs’ whole line)
…and some wildcards (Pendulate, Vital, and Knifonium have been featured in the past)
Two free tutorials
It’s a nice structure – frankly I’m running this not only as advertisement for Tom, but some added motivation for the rest of us to organize ourselves that well!
Of course there needs to be a business model here; the hook is, Tom is selling lots more on his site. But it’s a nice approach – and I’ll be looking partly just to learn a bit from how Tom does his preset design, as opposed to my own, uh, fairly sloppy approach.
It’s the third music video Skrillex has released this year so far
Monday, July 5, 2021 – 11:42
Skrillex has teamed up with Colombian artist J Balvin for a new single, ‘In da Getto’.
Including samples of 1993 track ‘In de Ghetto’ by David Morales and the Bad Yard Club, the song is accompanied by an Alfred Marroquín-directed video, featuring TikTok star Khaby Lame and dancer Mufasa. Watch it below.
‘In da Getto’ is the third music video Skrillex has released this year, following the garage-band inspired visuals for his single ‘Too Bizarre‘ with Rae Sremmurd, Swae Lee, and Siiickbrain. Skrillex also released ‘Supersonic (My Existence)’ and ‘Butterflies’, featuring Fout Tet and Starrah, last month.
The slew of new Skrillex material comes after the DJ and producer promised new music in the spring.
Open-source audio editor Audacity has been labelled as “spyware” over its new data collection policy.
Among the various new changes, the updated policy – which was uploaded on 2nd July – states: “All your personal data is stored on our servers in the European Economic Area (EEA). However, we are occasionally required to share your personal data with our main office in Russia and our external counsel in the USA.”
In a section titled “Who does Audacity share your Personal Data with?” it includes “to a potential buyer (and its agents and advisers) in connection with any proposed purchase, merger or acquisition of any part of our business, provided that we inform the buyer it must use your Personal Data only for the purposes disclosed in this notice.”
Elsewhere, the updated policy now prohibits users below the age of 13. It also states that Audacity will collect data points including a user’s “country based on IP address” and “data necessary for law enforcement, litigation and authorities’ requests”.
Among those criticising the move is independent open-source commentators FOSS Post, who has suggested the app is now definable as spyware. On the Audacity GitHub and Reddit, there have also been calls to “fork” (essentially to create an independent spin-off) of the software in order to revert back to its original policy.
Read the full updated Desktop Privacy Notice here.
Loraine James, Pan Daijing and Lorenzo Senni are among the names set to play Rewire’s upcoming “offline” festival.
Following an online edition in May, the festival returns to The Hague, the Netherlands across 10th-12th September, as well as 18th September.
Billed “as a reintroduction to Rewire’s usual format,” the festival will also host sets from the likes of Sarah Davachi, Laurie Spiegel and Lyra Pramuk in venues including Paard, Korzo and Koninklijke Schouwburg.
The festival is also teaming up with artist-run platform iii to present Proximity Music, a tour of installations scattered across The Hague which promises to “engage with the senses and the body, with instruments and machines, with ritual and play.”
Ahead of returning in its full form next April, on September 18th, the festival will collaborate with festival Dag in de Branding to present the closing event to this year’s offline edition.
Tickets are on sale now. Check out the full line-up here.
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