After teasing for years that she would bring back her elusive Whyte Fang alias, Alison Wonderland has finally released the project’s first single in nearly a decade. Featuring glitchy tones that step outside of her typical Alison Wonderland signatures while still maintaining some of her sonic familiarity, “TIDES” packs a memorable punch in less than two minutes.
Alexandra Sholler, the producer behind both Alison Wonderland and Whyte Fang, offers “TIDES” as the first single since 2020’s “Bad Things.” The single is also the first Whyte Fang track since Sholler began her Alison Wonderland project, which catapulted the producer to stardom.
It is a lot to pack into one headline—Tom Howie and Jimmy Vallance of Bob Moses have had a momentous last few days. Barely allowing the ink to dry on their new deal with Astralwerks, the Grammy Award-winning duo present their latest single, “Time And Time Again.” The indie-electronic offering marks Bob Moses’ first creative output since assisting on Elderbrook’s “Inner Light” this summer. Alongside the brand new tune arrives an A-1 visualizer, directed by Lucky, that may as well be deemed a proper music video. And, all of this comes with a grip of new tour dates to boot. Says the duo,
“It’s a big week for us: a new tour for 2022 and now our first new music in a while. We spent most of the last year in the studio, and this track feels like the perfect first taste of what we’ve been working on. It’s a celebration of the return of dancing with friends after almost two years spent inside. It’s also a special song for us personally because it was inspired by a close friend who we lost too soon. Writing the song was cathartic, and it helped us realize that all of those shared adventures of dancing until the sunrise are memories we’re lucky to hold.”
Showcasing a bit of their sense of humor, the veteran outfit also uploaded a YouTube video that announces Bob Moses’ North American tour. The tour run kicks off with four dates in Vail, Colorado starting on December 9, 2021, and includes North American (and international) shows running all the way through November 2022. Buy tickets to see Bob Moses in person here, and stream “Time And Time Again” below.
Taking in the free rave scene in cities like London, Milan, Barcelona, Turin, Graz and Bologna, Dirty Dancing documents the underground movement in “its most exhilarating phase from the late 90s to the early 2000s”, and offers intimate insight into the events as they happened.
Speaking about the book, Zoppellaro said: “I’m not a writer, the only way to express my feelings about this project is with a snippet (almost like a photograph) of a dialogue from The Shanghai Gesture, a 1941 movie by Jozef Von Sternberg, when Gene Tierney, describing a sleazy gambling house/brothel says: ‘It smells so incredibly evil! I didn’t think such a place existed except in my own imagination. It has a ghastly familiarity like a half-remembered dream. *Anything* could happen here… any moment…'”
Dirty Dancing is available to purchase now via here.
Artist, programmer, and DJ Daito Manabe shared Tone, an online work created by dance company ELEVENPLAY and media art collective Rhizomatiks.
The three-part piece features music by Hopebox.
Tone builds on previous collaborations between ELEVENPLAY and Rhizomatiks that combine music, dance and generative visuals. In this work, each movement starts by focusing on the dancers and ends with their movements being abstracted into data and generative visuals.
Throughout, the camera movements are choreographed by the dance troupe and filmed on smartphones by the dancers themselves.
‘Murder Music’ also features Benny The Butcher and Jadakiss
DJ Mag Staff
Friday, November 5, 2021 – 12:11
Snoop Dogg and Busta Rhymes have dropped a new track.
The two rappers, who have previously collaborated on a number of tracks including last year’s ‘So High’ alongside Dr. Dre, Method Man and Xzibit, have shared their most recent effort, ‘Murder Music’.
Also featuring Benny The Butcher and Jadakiss, the track is the third single from Snoop Dogg’s forthcoming Def Jam LP ‘The Algorithim’, following ‘Big Subwoofer’ — which comes from new hip hop supergroup Mount Westmore —and Jane Handcock’s ‘Like My Weed’.
Last month, it was confirmed that Snoop — who will also soon star in the animated movie ‘Addams Family 2‘ — and Kendrick Lamar will form part of a five-strong team of artists performing at the Super Bowl halftime show in 2022.
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New York based singer, Josh Stone, has released the official visuals for his latest single, “Slide 101,” featuring Dave East. On the very raunchy single, Josh Stone comedically sprinkles NSFW rhymes in the verses and hook. Many listeners will find it difficult to forget the repetitive lines in the hook where he sings, “Shawty wanna ride/ Shawty wanna drive/ Shawty wanna smoke.” In the music video, Stone finds himself having problems with the two women in his world — the main and side. The scenes are hilarious and the energy matches that of the songs lyrics. All the while David East delivers quick punchlines in his brief appearance in the video.
Stone and East linked up to make the rhythmic record together during the Covid-19 pandemic while Quad Studios was locked down. In a press statement, Josh Stone tells EARMILK he produced the single with a focus on creating a record that is different from East’s notable New York sound. He also adds that the video was shot in Long Island three weeks after the song had been produced. Sharing a fun fact about the production of the music video, Josh Stone said, “during filming, an outdoor wedding was taking place next door and the wedding guests along with the bride and groom wound up in the video.”
When Stone is not writing or producing, he is collaborating with other engineers. He describes his sound as Hip-hop & Pop influenced. Artistically, Stone is inspired by many great artists such as Dr. Dre, Kanye West, Nipsey Hussle, and Eminem to name a few. What inspires him most is his everyday life and his main source of motivation stems from his family.
A new turntable from Lenco – the LS-55 – lets users rip vinyl straight to a USB stick. The new turntable also features built-in speakers and Bluetooth connectivity as well as the USB port, which encodes to MP3 format.
The player features a built-in phono pre with RCA outputs, for connecting straight to a mixer or amp. There’s also an aux input for using the built-in 5W speaker. The LS-55 has a retro wooden finish, despite its modern features and also includes a passive radiator for “better BASS effect”.
The Bob Moog Foundation has announced their 2022 calendar, Synthesizer Pioneers, covering 18 months and honoring innovators in the field of synthesis from the past 60 years.
All proceeds from the sale of the calendar support the non-profit organization and its projects, including the Moogseum, the Foundation archive and a ‘STEAM’ project to teach the physics of sound using the tools of electronic music.
The calendar focuses on the historic achievements of synthesizer pioneers from all over the world, including Harry Olsen and Herbert Belar (RCA), Harald Bode, Raymond Scott, Bob Moog, Don Buchla, Peter Zinovieff (EMS), Alan R. Pearlman (ARP), Ikutaro Kakehashi (Roland), Fumio Mieda (KORG), Tom Oberheim, Dave Smith, Roger Linn, Wolfgang Palm (PPG), Dave Rossum, Peter Vogel and Kim Ryrie (Fairlight), Ray Kurzweil, Felix Visser (Synton), and Makoto Fukuda (Casio).
Many of the pioneers contributed historical photos of themselves with their hallmark inventions. The calendar goes further to trace the history by highlighting scores of historically significant dates within the calendar grid.
Many people featured shared connections with Bob Moog, ranging from inspirations to friends, colleagues and business associates. Secondary photos on many of the pages highlight these connections and show Moog with his fellow pioneers.
“Bob Moog was a dedicated student to the history of synthesis, and he was the first to acknowledge not only the work of those who came before him, but those whose work continued the evolution of synthesis,” notes Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation.
“Carrying that spirit forward, the Bob Moog Foundation is excited to bring the important work of so many synthesizer pioneers from around the world together in one document, where they can be appreciated and considered, as individuals and as a collective. Every month is dedicated to a new trailblazing innovator. We are honored to help represent their stories and connections in this way.”
The calendar is available to pre-order now, with shipping expected to start later in the month.
Note: The Bob Moog Foundation is an independent 501 (c)(3) non-profit organization, dedicated to preserving the legacy of Bob Moog by inspiring others through science, music, and innovation. It is not affiliated with Moog Music, and depends on supporters for its funding.
Olivia Grace‘s new single, “Late Night,” embodies that dark-pop sound that the up-and-coming artist is known for. The song is the second release off of her upcoming debut album and serves as the perfect tease for her new body of work.
“Late Night” immediately puts you into a trance, as celestial synths under her delicate voice build into a shimmering chorus. It feels cold and haunting, until it turns into a personal delicate ending, where the focus becomes solely her voice.
The song serves special significance to the singer. It marks one year after her intensive battle with Toxic Shock Syndrome and multi-organ failure. The resilience and strength radiate through her music, showing how lightness and darkness intertwine so easily. She adds in a recent press release, “It’s about that feeling that creeps up late at night when your thoughts swirl and insecurities are hard to ignore.”
The song was written and recorded in her bedroom, adding a feeling of intimacy and produced by the Paros-based production duo, Her Demons, adding to the chilling vibe. They created the song without ever meeting each other in person.
Olivia Grace grew up in Baltimore, surrounded by music, and began writing at only eight years old. She now resides in LA with her dog Jesse. She’s opened shows and tours for artists such as Devon Baldwin, Coeur de Pirate, CANNONS, Ninet Tayeb, along with many others.
On Saturday, October 23rd, one-on-one dance competition, Red Bull Dance Your Style, wrapped up the U.S line-up. Wild card, Angyil McNeal, took the dance floor by storm and was crowned the national champion. The iconic popper will now move onto the world finals in Johannesburg, South Africa. If you’ve never been to one of these events, qualifiers from Boston, Chicago, Los Angeles, Atlanta, Memphis, and Miami, come together to show off the versatility and uniqueness of dance. While just witnessing the natural talent that many of these dancers have, the style and history behind the moves makes it all more compelling.
There are five elements of hip-hop, one being breaking, which originated in New York City around the late 1960s and early ’70s. The energetic and complex style of dancing would be a gateway for the emergence of new styles. Much like breaking, many styles of dance were birthed in inner-city neighborhoods like Chicago and New York. Popping, jookin’, footwork, whacking, turfing, and flexing have become foundational styles of dance, unique to their own regions. Just like any cultural influence, the history of each dance plays a pivotal role in its representation on larger stages and within music.
Like breaking, house dancing has been around since the late ’60s. Originating in underground clubs in Chicago and New York, house blends elements of disco and electronic music. The main elements of house include lofting, jacking, and footwork. Dancers like Prince Wayne have taken time to both learn the history of the dance and gain a sense of appreciation for the decades-old style. The Atlanta qualifier and professionally trained dancer finds creative therapy in house dance. “House dance came from club culture with the main movement being jacking. Jacking comes from the bouncing of the chest”, he explains. A seductive movement of the body, artists like Chip E, Farley “Jackmaster” Funk, and Steve “Hurley” Silk would be inspired and turn this move into bass-booming club anthems. Wayne digs further into the style, explaining that “it came from people coming together in the club and forming these moves. A lot of people don’t understand house dance and take it too seriously but learning the history of it really helps me appreciate the style.”
The disco and post-disco era has inspired much of the dance that is seen today. Like house dance, waacking and voguing also emerged from club culture. While vogueing would be founded on the East Coast and often tied to house music, waacking was born in Los Angeles LGBT clubs during the ’70s. Typically done to disco music like Cheryl Lynn’s “It’s Gonna Be Right,” the elements of waacking are distinguishable through intricate arm movement, posing, and punking. Seattle, Washington-native and an Atlanta qualifier, Tracey Wong, found her passion for waacking while creating spaces of empowerment for queer women. “It’s a dance form that was created by Black and Latinx gay community, West Coast style,” she describes. “While it’s known for a lot of circular arm movements, it’s really about showcasing the music with your whole body.” Wong addresses the true beauty of waacking – freedom. During the ’70s, there were very few places for members of the LGBT community to express themselves, safely and freely. For Wong, understanding and respecting the historical context of waacking and the dances that flowed from the community, brings much more value and meaning to this style of dance. For her and many others, you cannot respect this dance without learning the history.
While club culture has had a hand in the development of dance styles like Chicago footwork, waacking, and voguing, sub-genres of hip-hop like the hyphy movement have also inspired creative expression. Dancers like Krow the God who can contort his body into positions you wouldn’t believe, can attest to this cultural influence. Turfing and flexing is both symbolic and exclusive to Bay Area street culture. Characterized by rhythmic floor moves, gliding, flexing, and contorting, this distinctive style was coined by dancer Jeriel Bey back in the ’90s. “Turfin’ started in Oakland, my hometown,” the dancer reveals about how he got into the dance form. “The Architeckz was the first turf group that E-40 brought out and they also extended themselves to the Anamaniac.” The Archictecks was also an extension of the originator, Jeriel Bey. “It’s extension of the hyphy-era, but we just made it more technical. The technique also differed based on whatever hood you came from.” Founded on the different “turfs” of Oakland, the art form is bounded by socio-political injustices. An expression that addressed brutality against Black and brown communities, the dance is deeper than a movement. Blessed to be in the spotlight, Krow the God, is happy to see his hometown getting some well-deserved attention.
From the east coast to the west coast and everywhere in between, the impact history has had on the culture of dance and music is just as important as the dancers themselves. Much of the styles we see today wouldn’t exist without the people and history that influenced them. So, the next time you find yourself lost in the music or the dance, remember how far things have come.
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