Kaivon has linked with Lucii for a starry new single, “Just A Dream.” With expansive instrumentals that dominate the track’s design and Lucii’s floating vocals, “Just A Dream” takes on an ethereal feel that nods to the song’s engulfing quality. The single finds both Kaivon and Lucii lamenting their hazy signatures, drawing listeners in to a space of their own, characterized by the collaboration’s larger-than-life, celestial atmosphere.
Earlier this year, Lucii teamed up with Dion Timmer for the single “All My Thoughts.” Meanwhile, Kaivon appeared on the label Lost in Dreams for the single “Don’t Worry My Love.” Now the pair find evident chemistry on their own joint single, “Just A Dream”—listen below.
Four Tet‘s ongoing legal battle against his former record label, Domino Recording Company, has grown even more contentious after the British imprint recently took down three of the veteran producer’s albums from streaming platforms. Born Kieran Hebden, Four Tet originally signed with Domino in February of 2001, nearly a decade before the emergence of digital streaming. Without as high a cost to record labels for digital versus physical music distribution, Four Tet filed a legal suit against Domino earlier this year to fight for an amended royalty payout structure. The renowned artist suggested that he be entitled to a 50% streaming rate, rather than Domino’s pre-streaming 18% rate, and claimed legal damages amounting up to $95,000.
On November 21, Four Tet tweeted about Domino’s unsolicited takedown of three of his albums. Part of Domino’s initial defense suggested that their former signee had remained complacent with the company’s royalty accounting “for almost two decades.” According to Four Tet, the recent albums takedown was an attempt by Domino to, “remove my music from all digital services in order to stop the case progressing. I did not agree to them taking this action and I’m truly shocked that it has come to this.”
Since then, Domino has issued a statement ahead of their impending court date. According to the label,
“Domino are just as saddened about this current situation. The decision to temporarily remove the three Four Tet albums from digital services was not taken lightly. We were advised to do so as a necessary consequence of Kieran’s litigation at this time.
Kieran began his claim about contractual provisions in his original 2001 agreement with Domino, on 1st December 2020. Since then, we have offered both in correspondence and in open court to mediate, but have been rebuffed by Kieran and his legal team. We have continued trying to re-engage with them to find a solution to this dispute: one that is fair to both sides, but to no avail. Through all of this, we have been and continue to be open to discussion and mediation.
While we are equally as disheartened to have to take these steps, we remain hopeful that an amicable solution can be reached in the future. Our door is now and will always be open for further discussion with Kieran.”
Far Out is all in. It’s been just over a year since the Canadian producer’s Beyond The HorizonEP made waves and now he’s back, with Seven Lions’ fledging Ophelia Records at his side. After releasing “Waterfall” with Dancing AstronautSupernova subject RUNN, and Ophelia newcomers RIOT, as the first release from his upcoming EP, Far Out is back with a new trance-inspired collaboration with Mexican producer Leonard A titled “Ultraviolet.” The track combines airy vocals with heavy basslines and euphoric drops, making Ophelia a fitting home for the engulfing new collaboration.
Movement Festival is making its long-awaited return to Hart Plaza in Detroit after a two-year hiatus. The festival last occurred over Memorial Day Weekend in 2019 and featured headliners Disclosure, Orbital, and GRiZ. Movement announced its return in addition to lineups in both 2020 and 2021, but both Memorial Day Weekend events were postponed due to COVID-19. In 2020, Movement announced artists including Four Tet, Carl Craig, and Ben UFO. The 2021 lineup was smaller in scale and featured Kevin Saunderson, DJ Holographic, and Kyle Hall.
Movement Detroit makes its return from May 28 – 30, 2022, with more information on the event available here. Tickets and the lineup for the 2022 iteration are not available yet, but according to the Detroit Free Press, festival promoter Paxahau has shared that the lineup for the 2022 event will be available soon.
Clubs in the German state of Bavaria have been forced to close for three weeks starting from 22nd November.
All nightlife in the region, which also includes bars, has been ordered to shut as the region enters back into a short-term partial lockdown in order to break the cycle of a concerning increase in new COVID-19 infections.
Germany has a lower than average vaccination rate compared to much of Western Europe, and the rate of cases is reaching a new high across the nation. Bavaria is one of the worst hit regions, alongside neighbouring Saxony, which has now also entered into lockdown.
Earlier this week, Germany’s acting Health Minister Jens Spahn urged all German citizens to get vaccinated as soon as possible, warning that people will either be “vaccinated, cured or dead” by the end of winter.
Berlin’s Clubcommission also recently issued a statement, responding to the shifting of the conversation in Germany towards blaming increasing COVID-19 rates on nightlife, saying venues had been depicted in the “wrong light”.
It comes after a press release sent out by the Luca app (Germany’s contact tracing system) claimed that 49% of COVID-19 alerts in October were traced back to nightclubs. This information was then said to have been shared by various media outlets, who claimed that nightclubs and bars were acting irresponsibly.
“The reopening of the clubs after a year and a half of closure is viewed with great scepticism,” the Clubcommission statement said. “Of course, the health offices also pay particular attention to tracking infections in which many people meet without a mask and distance.
“If a person tests positive after a club visit, the health office sometimes sends 2,000 warnings to all visitors. But the audience is fully vaccinated or recovered, only in this way is access to 2G [people who have been fully vaccinated or recently recovered from COVID-19] club nights possible at all. Even if vaccination breakthroughs have been recorded, no mass infection can be observed under 2G.”
Clubs across Germany originally reopened for indoor dancing over the last couple of month, as the nation emerged from lockdown. In Berlin, most venues started reopening at the start of September following a ruling that indoor dancing should be permitted for those who are fully vaccinated against COVID-19 or have recovered from the virus in the last six months.
A new study carried out in Australia has found that the presence of police at music festivals can lead some attendees to “panic overdose”, by consuming all their drugs prior to entering the site.
The study, led by researchers at the University of NSW, surveyed festivalgoers at six music festivals in New South Wales that took place between November 2019 and March 2020. Researchers asked 1229 participants to complete an anonymous survey around drug use habits, their intended drug use at the events, and how police and drug detection dogs influenced their drug use at the festivals they were attending.
Of the 1229 respondents, 372 said they used or planned to use drugs at the festival they were attending. Among that group, MDMA was the most popular drug among participants, with 268 of those 372 people saying they planned to use the drug. Cannabis, cocaine, LSD and ketamine use were also recorded.
Most importantly, researchers found there was a correlation between the presence of police and drug detection dogs, and higher-risk drug behaviours among festival attendees.
Participants in the survey who said that the presence of police and police dogs influenced their decision to take drugs said they were twice as likely to “pre-load”, meaning they would consume all their drugs before entering the festival grounds through fear of being caught in possession of illegal substances. The presence of police was also found to make people reluctant to seek medical help, according to the survey.
Speaking to The Guardian, Dr. Jonathan Brett, a senior research fellow at the University of NSW who was an author of the study, said: “There’s a really growing body of evidence now in Australia that police and police dog presence and security strategies at festivals is actually potentially really harmful.
“I really hope we can have a conversation, not about removing police altogether but potentially about a different approach to policing strategies that isn’t just about criminalising drug users. Everyone wants people to be safer and healthier, so we need to discuss how we can best achieve that.”
SoundSwitch, one of the leading lighting software developers and hardware manufacturers, has developed a DJ friendly controller to control lights directly from the unit, or via the Denon DJ PRIME range.
The new hardware – called Control One – features four banks of 64 RGB backlit pads for triggering lighting sequences, dedicated DMX outputs, two USB B ports for connecting to other DJ hardware and an OLED screen for info and feedback on parameters.
While the unit is designed to control SoundSwitch running on a laptop, perhaps more exciting for mobile DJs, the unit can also be used alongside any hardware running ENGINE OS, the Denon DJ software that runs on its PRIME range, including PRIME 4, PRIME GO and even on Numark’s recently announced MixStream. It also works with Denon DJ’s flagship PRIME SC6000 series.
That means DJs can control the lights without a laptop, sync’d to the music they’re already playing from their PRIME device. And if they analysed the music in ENGINE OS, it automatically creates a lighting show per track, which can then be manipulated from the Control One.
Control One also works with Ableton Link, meaning live artists can sync the lights to their show wirelessly, and it’ll also connect to VirtualDJ and Serato. The Control One features onboard memory for saving settings for individual venues and shows and it also works with Philips Hue systems for home setups and streams.
The Control One costs £249 and is available now. Find out more here and watch the video below for more.
Ten years after its first entry into software instruments, Moog is back with the next generation – a 16-voice wavetable/vector successor with three-axis navigation called Animoog Z.
(Since this is a website, not radio, I kindly remind you that Moog is in the United States. Therefore, in your mind, say “OP-Zed” when talking about Sweden’s Teenage Engineering, and “Animoohhhg Zeeee” when reading this. I can hear you. I can hear when you do it wrong. Do not Moog like a cow. Do not Zed the American company’s fine new synth. We now return to this blog post, already in progress.)
It’s easy to forget what a revelation this was – ten years ago, a lot of synth makers used iOS just for simple companion apps to sell other gear. The 2011 Animoog was released so long ago, it even ran on a BlackBerry Z10. But the app’s release helped demonstrate two things – one, that the Moog company could devote itself to making a digitally native instrument, and two, that the iPad was up to being a serious synthesizer.
Moog, having cut their teeth on making a quite decent Moogerfooger filter app, went all out and created a synth that felt like it belonged on the platform. With its touch plate-style keyboard and fancy X/Y vector graphics for navigating wavetables, it felt a natural fit on the iPad – though it also worked well as a sound module with external control. And it still sounded like a Moog, thanks to samples from the gear.
Animoog Z keeps the basic UI structure in place from the original. So you have touch-plate keys at the bottom with scale/arp/hold, a big jazzy display that visualizes the sound on the left and center, controls on the right, and tabs up top.
The big breakthrough here, apart from lots of UI refinement that becomes immediately evident, is a three-axis display in place of the two-axis one on the original – hence that “Z.” The creative twist to Animoog was always providing a “path” system for warping your way through wavetables and vectors, letting you visually traverse morphing soundscapes. Moog still calls this their Anisotropic Synth Engine (ASE, because acronyms always make things more serious).
Now it’s three-axis. That means not just X, Y, Z axes for timbres, but also a new orbit module in addition to path to rotate through timbres.
This is 2021, not 2011, though, and so you get other improvements. Animoog Z responds to popular demand and ships as an AUv3 for iOS and macOS – meaning you can seamlessly move from your iPad or iPhone back to your desktop Mac and DAW. They’ve even gone the extra mile and made a VST wrapper with support for AUv2, AUv3, and VST3. I’m sure that will also open them to people clamoring for a Windows version, but for now it remains Mac-only. Mac support includes universal Intel/Apple Silicon compatibility, though.
The other big addition is what they’re calling the Timbre Editor & Recorder – a tool for recording/importing your own waveforms as well as working with vintage and contemporary Moog synths as sources.
There’s polyphonic pitch shifting, so you can get per-note pitch nuance even inside a chord, including via the iOS touch. Polyphonic modulation is there, too – and matches up with scale/ key mapping and correction and glide.
And there’s MPE support – little surprise, since developer Geert Bevin who was an early MPE advocate joined Moog and led this team. So if the iPad or iPhone isn’t quite precise enough – or you want input back on the Mac – you can connect an MPE controller like the Roger Linn Linnstrument or Haken Continuum and rock out. (The Continuum in particularly is interesting, as I can imagine its internal engine with the addition of the Animoog Z could be a killer combo. You could even just dedicate an iPod touch to the job.)
Randomize parameters (including selecting particular modules to randomize)
Arpeggiator with multiple patterns, octaves, time division, gate, and latch
Moog filter – high pass / low pass / band pass
“Thick” module – bit crushing, unison voice detuning, and drive (maybe the most interesting and most easy-to-miss addition here, but it opens up some different sonic character)
Analog-style delay (almost Moogerfooger lite there)
Looper / recorder
Global bpm + tap tempo
Ableton Link support
Preset browsing and organization with iCloud Drive support so your sound designs sync across platforms and devices
Full (typing) keyboard support – obviously essential on Mac in particular, but also interesting even if you connect a QWERTY (QWERTZ, AZERTY, you know…) to your iPad
Polyphonic pitch and modulation
MIDI in and out – so this is both a controller and a synth module you can use with your controllers
Backwards compatible with previous Animoog presets
Files app compatibility (also for using with your original Animoog stuff)
The basic version is free, with the full version unlocked for just US$9.99 – a third of the original’s final launch price. (The free version lets you explore presets; paying unlocks making your own sounds.)
And Suzanne Ciani likes it, a lot. (West Coast? East Coast? All coasts!)
The nominations for Best Dance/Electronic Album and Best Dance/Electronic Recording are as follows:
Best Dance/Electronic Music Album Subconsciously — Black Coffee
Fallen Embers — ILLENIUM
Music is the Weapon (Reloaded) — Major Lazer
Shockwave — Marshmello
Free Love — Sylvan Esso
Judgment — Ten City
Best Dance/Electronic Recording
“Hero” — Afrojack and David Guetta
“Loom” — Ólafur Arnalds featuring Bonobo
“Before” — James Blake
“Heartbreak” — Bonobo and Totally Enormous Extinct Dinosaurs
“You Can Do It” — Caribou
“Alive” — RÜFÜS DU SOL
“The Business” — Tiësto
Outside of the dance/electronic purview, Jon Batist (11), Justin Bieber (8), Doja Cat (8), H.E.R. (8), Billie Eilish (7), and Olivia Rodrigo (7) garnered the most 2022 Grammy Award nominations. View the full list of Grammy Award nominations here. Tune in to music’s biggest night at 8:00 p.m. ET / 5:00 p.m. PT on January 31, 2022 on CBS.
Canadian artist Katie Tupper shares the warming, soulful single “How Can I Get Your Love?” as a hazy ode to returning to familiarity and comfort.
Drenched in guitar plucks and elegant melody lines, the single wraps itself around you to offer a moment of solitude. Layered with evocative and personal lyricism, the track oozes calmness. Teaming moments of neo-soul with folk intimacies, the single effuses sacred moments with its reverb acoustics and hushed percussion. Swaddling rich tones underneath a blanket of soulful instrumentation, “How Can I Get Your Love?” hints at the possibilities we miss out on due to timing and cluelessness, reminding us of the importance of connections with the people around us.
“It’s about coming back to your hometown and wanting things to be exactly as you left them, and the desperation for those memories once you realise that is not true,” she reveals about the song. “I wrote about moments in previous relationships where you fully lay yourself out on the line, almost to a desperate extent because you feel you need to. It feels like vulnerability and bravery in confessing an old love but it really is more of seeking comfort in the familiar and begging those around you to create that for you.”
Tupper’s exquisite vocals and expressive songwriting creates a pattern of quilted desire. A slow-burning tune that feels simplistic in its sound yet complex in its results, “How Can I Get Your Love?” is a striking release from an artist despite only being her second release to date. The soothing sounds of Katie Tupper are promised to be in high demand.
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