The best way to integrate Ableton Live and Eurorack modular – for any rig

It’s spring, it’s Superbooth – modular is in the air this May. So you’ve got your modular, and you’re an Ableton Live user – now’s a great time to revisit how to use the two together effectively.

Sure, you might be vaguely aware or even have caught Ableton’s splashy launch of CV Tools, but let’s start from the beginning. Apart from recording audio, how can you work with the digital world of Live and the analog world of Eurorack or desktop modular and semi-modular effectively?

CV and audio, explained

We’re accustomed to connecting audio and MIDI, and so typically a lot of folks just use a MIDI adapter with a computer to work with modular and/or use the computer as a multitrack recorder. And that’s fine – but expanding your computer production to working with modular synthesis is more fun if you can wrap your head around using CV in the computer context.

The joy of modular synthesis is all about creative musical use of signal – whether that’s in software or hardware, digital or analog. Both control voltage (CV) and audio signals are continuous, analog signals. In modular systems, you may also work with audio-rate signal for control – audio frequency modulation (FM) being one example. There are two differences – the frequency of the signal, and whether it uses alternating or direct current – AC or DC.

CV as a control signal operates at a lower frequency – below 20 Hz. It’s also direct current (DC) – a constant current, in a single direction.

Analog signal is transmitted above 20 Hz, and often filtered below that frequency – more on that in a second. It’s alternating current (AC), changing direction.

So that’s really what you need to remember: CV, <20 Hz, DC; audio, >20 Hz, AC. The fun part is, you can use the two together.

(Side note: AC is what you’ll find in your typical household power outlet; DC is what your electronics use, which is why you have all those adapters. If you’re curious about the history of the two formats, Sparkfun has an explanation, including the weird feud between Edison and Tesla over current.)

What every audio interface can do

Okay, before you start thinking you need to buy new modules or a new audio interface, if you have any audio interface whatsoever, you can already do a lot with Ableton Live (or any software) and your computer

So before we start talking about DC coupling, you can already use clock input signals and CV input.

You can also work with MIDI, of course, and you might not even need extra hardware for that. For instance, if you have any USB MIDI device that has CV out, like an Arturia BeatStep Pro, you can use that as the CV “interface” without a module.

So MIDI and clock and CV input are already an option. That means you can use Ableton Live or other software like a really sophisticated module for your modular rig. You only need to check your audio interface if you want to also use CV output – so that Live also becomes the sequencer/controller for your gear.

What a DC-coupled audio interface can do

“DC-coupled” is a confusing term for newcomers. It’s actually a simple concept. If you have an AC-coupled output, it filters out low DC frequencies. When you see an audio interface that has “DC-coupled outputs,” all that means is that it removes a capacitor so that it can send the DC signal, too.

The upshot of this is that you can treat the audio outputs on your audio interface as CV outs. They’ll still look like audio outputs in Ableton Live, and you won’t ever listen to the actual signal you’re sending. But connect a jack from the audio interface output to the inputs on your Eurorack. Now you’ve got instant

There is a little more involved in making this work properly, which is where CV Tools comes in.

Which interfaces work? Here are some good lists:

Sweetwater – https://www.sweetwater.com/sweetcare/articles/which-audio-interfaces-are-dc-coupled/

Expert Sleepers – https://www.expert-sleepers.co.uk/siwacompatibility.html

I work most often with a MOTU M4, which is one of the more affordable options out there, boasts the essential feature of extra outputs (the “4” in M4) so you can handle audio and CV simultaneously on one box, and still has the option of driverless operation so it doubles as an interface for iOS, Raspberry Pi, and so on.

You’ll find some examples in the FAQ documentation from Ableton for CV Tools, below. Ableton also has configuration instructions:

https://help.ableton.com/hc/en-us/articles/360005621939-How-to-use-CV-enabled-hardware-with-Live

I don’t necessarily recommend what they do, though, talking about aggregate interfaces and so on – that’s a pain. It’s best to get something like my M4 or anything with extra outputs so you can devote a couple of the outputs to audio and use two more as CV outs.

Working with CV Tools

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Since Live 10.1, Ableton has included CV Tools as a free included set of Max for Live devices for working with control voltage and modular. The current version requires Live 11 or higher, and since it’s built in Max for Live, you need either a Max for Live license on its own or Live Suite. It’s useful having specialized tools, both in providing a set of musical interfaces and utilities with a consistent Ableton-style interface, and in providing signal that works with a variety of hardware.

I spoke to CV Tools’ lead developer Iftah Gabbai, also known for his role as part of the former Skinnerbox duo. The original release was back with 10.1 in 2019, but the software has continued to develop, says Iftah. It’s now matured – more stable and polished, and more compatible with a variety of modular gear. (The Eurorack “standard” is often pretty loose when it comes to how modules interpret signal!) So that’s thanks in part to feedback from all of you using it – another reason to check in with the software now.

The real appeal of CV tools is as “a toolbox to build bigger things,” Iftah says. So you get a set of fairly vanilla tools for CV, but that allows you to interface with other Live features, controller hardware connected to your computer (like Push), and then create creative ideas by blending what your computer and modular are doing.

There are a few ways of thinking about this:

Electric Indigo, aka Susanne Kirchmyer, works extensively with a hybrid setup powered by CV Tools. Seen here at a recent live set in Berlin, she tells CDM she uses CV Tools both for simple clock in/out and also routing CV input and CV output, depending on the intended use case or musical application.
  1. Using Live as your “module” – control Live and anything running in it with your analog gear – like a sound module.
  2. Using analog gear to modulate Live instruments, effects, and other parameters – so enabling CV input into Live.
  3. Using Live as a hub for control and sequencing – think live performance, especially. All the features of Clips, curves and envelopes, and even anything you can MIDI map now become a CV output to your gear (so here’s where you do need that audio interface with some extra DC-coupled outs). And this means you open up another possibility:
  4. Use Live for expanding hands-on control of Eurorack. Macros and any MIDI input now work as additional control for your rig.

I talked to Iftah a bit about why that’s so useful. You know the modular syndrome here – there are two problems. First, a spaghetti of wires can mean it’s physically difficult to reach your fingers in and tweak knobs and such, especially in the heat of a live show. Second, you can wind up with a different kind of noodle-related issue – a set that gets a bit stuck in a single sequence and noodles around for too long. Live can solve both those issues used creatively as an output. You can use a Push or other controller for additional physical controls, and you can use Clips or other mechanisms to trigger different sequences, arrangements, and modulation easily for more variety.

You can work with tuning, too. CV Tools includes CV Instrument, which can be used to tame your oscillators – including those pesky analog oscillators. And you could easily combine this with other tuning plugins, so that either you tune your modular rig to your software instruments or even just make your computer the tuning hub for your analog gear.

So, put CV Tools together with Ableton’s own Microtuner, for instance, which Iftah co-developed — also free for Max for Live. Or work with Oddsound’s MTS-ESP. This also opens up the possibility of tuning modular gear to the many, many tunings outside 12-tone equal temperament. That’s probably a whole separate discussion; I was just listening to Lebanese artist Hany Manja who is working with various maqams and modular gear. The computer is a nice addition for working with tuning, especially with options like the Khyam Allami/Counterpoint-developed free Web tools Apotome and Leimma.

Grab CV Tools inside Packs in your Live interface:

A tour of CV Tools

There are some useful basic ingredients here:

CV Instrument. This combines a bunch of the output features: gate and pitch outputs, envelopes, a shaper, expression, mapping, and cent-accurate oscillator tuning. It includes MIDI mapping, too, and even audio monitoring built-in.

CV Triggers. This lets you use notes to send specific triggers or gates, routed to wherever you like, so useful for sequencing and any other form of triggering.

CV Utility. This is a bit like a Live-native hybrid module – imagine it as what you would want in a Live output module in your actual rack. Use automation curves in Live, add/multiply and shift control signals, add processing.

CV Clock In, CV Clock Out. These work as it says on the tin – control tempo and tranport in either direction.

CV Shaper. So you can use any of the devices here that output CV output to map envelopes/clips/whatnot from Live to your gear, but CV Shaper lets you do it all in a single device. Create a CV shape and then send them out to Live. (Oh, by the way, this device even preceded a device with a similar UI that arrived in Live 11.1!)

CV Envelope Follower. Take an audio input, and send CV gates or triggers out, with lots of nice controls.

CV LFO. This is a Live-style LFO with rate, depth, offset, phase, and different shapes that you can then route directly to CV.

Rotating Rhythm Generator. It’s yet another rotating / symmetrical / Euclidean rhythm generator, yes – though with a ton of options, logic, and multiple parts with independent swing controls (hurrah). It sends both CV and MIDI, so you can use it interchangeably with MIDI and CV gear.

Integrating analog and digital

Anything with analog sync in/out, trigger in/out, or analog CV in or out is also fair game for work with CV Tools. That now includes a ton of desktop and semi-modular gear, not only Eurorack modular rigs.

Moog Demo Library did a nice series on working with CV Tools – it shows off Moog’s nice semi-modular rig, but it’s relevant to any gear with some analog I/O, so including lots of other vendors.

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Even without modular gear

So, wait – because these all deal with signal, there are even applications here that work without any physical gear. That can mean both working with signal inside Ableton Live and sending signal to software modulars, not only hardware modulars – since everything here that works with signal (audio/CV) can also be applicable to software modular environments.

That means you have a bunch of Live-native LFOs, envelope followers, and utilities that you can easily integrate with software modulars, whether it’s Max for Live, Pd, Softube Modular, VCV Rack, AAS Multiphonics, Reaktor, Cherry Audio Voltage, or any other.

If you’re working internally, you just route audio to your plug-in or other software, too – DC-coupling is no longer relevant because you’re never working with physical outputs. That’s especially easy with any of the devices that work as audio effect plug-ins.

Also well worth checking out, with that in mind – Max for Cats makes semi-modular (Bengal) and fully-modular (OSCILLOT) systems built natively in Ableton Live:

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A number of the CV Tools modules also work well inside Live internally with or without modular gear, or with MIDI. Check out, in particular:

  • CV Utility (since it processes any control signal)
  • Rotating Rhythm Generator (since it also works with MIDI)

More resources

I’m sure this will trigger (ahem) more discussion and ideas, so watch here for updates, but here are some useful starting points for more information.

https://www.ableton.com/de/packs/cv-tools/

https://www.ableton.com/en/blog/cv-tools-live-coming-soon/

https://help.ableton.com/hc/en-us/articles/360005621939-How-to-use-CV-enabled-hardware-with-Live

https://www.ableton.com/en/blog/control-your-modular-with-live-10-suite/

https://help.ableton.com/hc/en-us/articles/360004966139-CV-Tools-Overview-Technical-FAQ

And still more tutorials, of course:

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Enjoy, and do send some feedback!

Otik launches label, Solar Body, with new EP, ‘Psyops’

Otik has launched his own label, Solar Body, with a new four-track EP, titled ‘Psyops’. Listen to the lead track, ‘Skylines’, below. 

The new label will serve as a home for the London-based DJ and producer’s releases. As the imprint’s Bandcamp profile states, Solar Body “will attempt to connect the dots between deep ethereal atmospheres and high octane jungle, footwork, dark low slung garage, moments of ambient techno and more.”

The full ‘Psyops’ EP will be released on 22nd June. Pre-order it here.

Otik’s previous releases have appeared on labels such as Martyn’s 3024, Shall Not Fade, Mr. Mitch’s Gobstopper Records, Midland’s Graded Records and keysound recordings. 

Earlier this year, Otik spotlighted some of his favourite new releases as part of our Selections series. Revisit his 2019 interview and mix with DJ Mag here

Moonchild Sanelly shares video for new single, ‘Cute’, featuring Trillary Banks: Watch

Moonchild Sanelly has shared a new single, ‘Cute’, which features UK rapper Trillary Banks. Check it via the official video below.

The South African artist, real name Sanelisiwe Twisha, has explained that the track “is about bad boss bitches with big dick energy who look fly while they’re running their shit”.

“We can be cute, so our power might look unthreatening, but don’t be fooled, we’re powerful and we’re here to fuck shit up!”, she continued.

“Recording the track was a cool, fun experience,” said Banks. “I love the Two Inch Punch production. Meeting Moon in person was also great, we were able to go to a gig, vibe at the studio, do some shopping and discuss visual ideas. What a crazy but cute 24 hours.”

This is the latest single from Moonchild Sanelly’s forthcoming album ‘Phases’, following ‘April Fool’s Day (Makahambe)’ last month. The LP is out on 10th June via Transgressive Records, with tracks ‘Strip Club’, featuring Ghetts, and ‘Over You’, already released. 

‘Phases’ is packed full of “empowering” tracks that ‘promote respect for women’. “I want people to relate to the stories I’m telling,” she said of the album. “liberation for women, in the bedroom, in the boardroom, knowing your power… I need to be heard by a lot of people”. 

This album is the follow-up to her award-winning debut, ‘Rabulapha!’.

DJ Mag Best of North America Awards 2022: Voting is now open

Voting is now open for the DJ Mag Best of North America Awards 2022.

After a three-year hiatus, on the other end of a pandemic, the nominations have been announced — and we’re once again providing you with the opportunity to show love to your favourite DJs, producers, live acts, labels, clubs and innovators in our annual celebration of North America’s electronic music scene.

Across 16 categories, DJ Mag’s Best of North America awards seek to celebrate the wide spectrum of sounds being created by artists from the United States and Canada. 

Following in the footsteps of DJ Mag’s annual Best of British awards, a new award has been added this year. The award for Underground Hero aims to celebrate the champions of grassroots music communities. 

One point of note is that the music awards (tracks, albums, compilations and remixes cover the period from 1st January 2021 – 22nd May 2022.)

Voters have always been able to register their votes through a social sign in, using either a Google or Facebook account. But new for 2022, DJ Mag has introduced the ability to register with an Apple ID. This addition gives users additional privacy controls while also opening the process up to more than 99% of smartphone users in North America, making it our most accessible poll to date.

Voting is open now until 1st June 2022. You can vote at vote.djmag.com

You can see the full list of categories and nominees below:

Best DJ

  • Eris Drew
  • Green Velvet
  • Jayda G
  • RL Grime
  • RP Boo

Breakthrough DJ

  • Ariel Zetina
  • John Summit
  • Kush Jones
  • Layla Benitez
  • UNIIQU3

Best Live Act

  • E-Dancer
  • Jessy Lanza 
  • Minimal Violence
  • Porter Robinson
  • ZHU

Best Producer

  • Avalon Emerson
  • DJ SWISHA
  • Flying Lotus 
  • Lane 8
  • WondaGurl

Breakthrough Producer

  • Bored Lord
  • LP Giobbi 
  • Moore Kismet 
  • Nikki Nair
  • TYGAPAW

Best Label

  • Backwoodz Studioz
  • Brainfeeder
  • Incienso
  • Monstercat Silk
  • Nervous Records

Breakthrough Label

  • EAT DIS
  • Kindergarten Records
  • Odyzey Music
  • Rules Don’t Apply 
  • Worst Behavior Recs

Best Album

  • AceMoMA ‘A Future’ [HAUS of ALTR]
  • DJ Manny ‘Signals In My Head’ [Planet Mu]
  • Eris Drew ‘Quivering In Time’ [T4T LUV NRG]
  • Moor Mother ‘Black Encyclopedia of the Air’ [ANTI-]
  • Vindata ‘With Opened Eyes’ [Monstercat]

Best Compilation

  • Defected presents ‘House Masters: Todd Edwards’ [Defected]
  • DJ Holographic ‘Detroit Love Vol. 5’ [Planet E Communications]
  • V/A ‘CRITICAL MASS VOL. 1’ [Space Yacht]
  • V/A ‘Deep Cutz’ [Dirtybird]
  • V/A ‘Juke Bounce Werk presents: JBDUBZ vol. 9’ [Juke Bounce Werk]

Best Track

  • Louie Vega ‘All My Love feat. Robyn’ [Nervous Records]
  • LSDXOXO ‘Sick Bitch’ [XL]
  • ODESZA ‘The Last Goodbye feat. Bettye LaVette’ [Foreign Family Collective]
  • REZZ & Deathpact ‘Chemical Bond’ [Rezz Music, Inc.]
  • UNIIQU3 ‘Microdosing’ [Local Action]

Best Remix/Edit

  • Bonobo & Totally Enormous Extinct Dinosaurs ‘Heartbreak (Kerri Chandler Remix)’ [OUTLIER]
  • Kavinsky & Cautious Clay ‘Renegade (Oliver Remix) [Record Makers] 
  • Midnight Magic ‘Beam Me Up (Each Other Remix)’ [Razor-N-Tape]
  • Ouri ‘High & Choking (Jacques Greene Remix)’ [Born Twice / Lighter Than Air]
  • ZHU & partywithray ‘Zhudio54 (J. Worra Remix)’ [Astralwerks]

Best Large Club 

  • Avant Gardner & The Brooklyn Mirage, Brooklyn
  • Club Space, Miami
  • Echostage, Washington DC
  • Exchange LA, Los Angeles
  • The Concourse Project, Austin

Best Small Club

  • CODA, Toronto
  • Good Room, Brooklyn
  • Kremwerk, Seattle
  • Spot Lite, Detroit
  • Stereo, Montreal

Best Club Event / Event Series

  • A Club Called Rhonda
  • Interdimensional Transmissions 
  • Mister Sunday 
  • RE/FORM 
  • STEAM 

Underground Hero 
Recognising the champions of grassroots music communities

  • DJ Bone
  • DJ Deeon
  • DJ Minx
  • Lauren Flax 
  • Tim Sweeney

Nastia announces NECHTO fundraising party for Ukraine in NYC this summer

Nastia’s NECHTO records is putting on a fundraising party for Ukraine in NYC this summer.

Taking place at the city’s Knockdown Center on 1st July, the rave marks the label’s first international event and features a raft of Ukrainian artists, including Nastya Muravyova, Noizar, Bejenec (live), Voin Oruwu (live) and Nastia herself.

Stef Mendesidis (who moved to Ukraine in 2021) and Lady Starlight will also be performing live at the event, which will raise funds for an as yet-to-be-decided Ukrainian foundation.

“While the brave Ukrainian nation is showing tremendous will and courage in their fight against occupants, the duty of the whole world and each of us is to show unity, support, and solidarity,” wrote NECHTO on Instagram

Check out the poster below and pick up tickets for NECHTO NYC here.

Established in 2019, the techno-focussed NECHTO has become a label and platform championing both international and Ukrainian artists. The label’s first release in December 2019 was a four-track EP ‘NECH001’ by an unknown artist. In 2020 and 2021, they held a series of big parties in Kyiv which drew thousands of revelers.

Last month, we heard Nastia deliver a candid keynote interview at this year’s International Music Summit in Ibiza about Russia’s war on Ukraine. She’s currently making a documentary about the war.

The checkered flag flies for Red Bull Guest House, hosted during inaugural Miami Grand Prix Weekend [Review]

The checkered flag flies for Red Bull Guest House, hosted during inaugural Miami Grand Prix Weekend [Review]Ma Verstappen

The checkered flag flies for Red Bull Guest House, hosted during inaugural Miami Grand Prix Weekend [Review]Picture1.refqr
Pictured: Channel Tres
Featured image: Daniel Zulani/Red Bull Content Pool

Words by Drew Tornabene

What might racing’s heyday of the 1960’s and 1970’s look like when reframed in a modern, dance/electronic-inflected context? For Red Bull, this was less of a question and more of a thematic guiding principle for Red Bull Guest House, hosted during the inaugural Miami Grand Prix. And from May 6 – 8, an invite-only guest list of artists, musicians, athletes, celebrities, media, and F1 fans found the answer on the dance floor at The Faena Hotel Miami Beach.

The exclusive experience, created by Red Bull in conjuction with The Faena and a handful of entertainment curators, captured the glint of racing’s golden era in the glitz and glamor of the Miami social scene—with clear sonic influence. Formula 1 (F1) and dance/electronic music’s relationship might not be readily apparent to all, but across three nights of music programming, Red Bull compelling teased out this connection with the assistance of Tigre Sounds, Teksupport, and Insomniac and Club Space.

The first of Red Bull Guest House’s three evenings of live music was curated by Tigre Sounds and sourced sets from Brenda Navarrete, DJ Nickodemus, Gabriele Poso, Sinego (live), Richie Hell (live), Miluhska (live), Roujeee Tunes, and Maure. The second, Teksupport Presents Autopista, saw American Dance Ghosts, Arca (DJ set), Carlita & Friends, DJ Tennis b2b TBA, Eli Escobar, and Physical Therapy tend the decks. The third and final installment, Insomniac x Club Space Present “You Should Be Dancing,” featured Adam Auburn, Bedouin, Channel Tres, Heidi Lawden, Hint of Lavender, Horse Meat Disco, Ms. Mada back-to-back Layla Benitez, and Soul Clap. Although each Red Bull Guest House curator was tasked with crafting a sonically distinctive outing, altogether, the three evenings’ musical foci paid homage to Miami’s Latin culture and the sounds not only prevalent during racing’s golden age (hello, disco), but also the fusion-driven styles that have the potential to rise as racing gains new steam.

It’s worth noting that the recent uptick in American interest in racing is owed in part to the advent of the drama TV series, Drive to Survive. Such interest has also been fostered by dance/electronic’s increasing interaction with the sport; since Skrillex headlined the Indy 500 Snakepit in 2016, genre figureheads have continued to align with racing events, with Skrillex, Alesso, ILLENIUM, and Chris Lake playing the Snakepit in 2019. And with an Insomniac Race Week takeover already on the books for F1’s impending return to Las Vegas in 2023, Red Bull Guest House was right on trend in its focus on the collision of racing culture and dance/electronic sounds.

Dancing Astronaut was live on location for Red Bull Guest House, an experience that aesthetically catered to the finer things per its thematic aim—both on and off the dance floor and on and off the track. As guests arrived at the famed Faena Hotel on May 6, they were greeted by a dominating display of Red Bull racing history, including the team’s classic RB6 race car, as well as gear worn during past Grand Prixs by Max Verstappen, Daniel Riccardo, and Sebastian Vettel. On the beach, onlookers were treated to the aerial acrobatics of the Red Bull Air Force before enjoying a beachside dinner featuring Latin-inspired cuisine amid tabletops adorned by artwork from Orly Anan. Brenda Navarrente’s Latin jazz and Afro-Cuban sounds added personality to what would, in retrospect, be regarded as an idyllic opening to the F1 weekend. The performance from Navarrente, a rising star in Havana whose interpretations of contemporary World music have won her praise, was a part of Racíes, an experience curated by Tigre Sounds, a lifestyle platform that seeks to translate Latin sounds and culture to a largely untapped United States audience. As a whole, Racíes celebrated Miami’s Latin heritage while aligning with the worldliness of the sport of racing and its global, diverse fanbase. Featured acts included Mexican/Colombian DJ Sinego (who was later joined by Brenda Navarrente on percussion), Ritchie Hell, DJ Nikodemus, Gabriele Poso, Miluhska, Roujeee Tunes, and Maure. 

The checkered flag flies for Red Bull Guest House, hosted during inaugural Miami Grand Prix Weekend [Review]Picture1.jpgde
Pictured: Richie Hell 
Featured image: Jeremy Deputat/Red Bull Content Pool

“I had two scopes, the Miami sound and the heritage [sound], which I think is a mix of DJs with intercontinental rhythms to sample from around the world,” Isabella Acker, the founder and visionary of Tigre Sounds, told Dancing Astronaut when asked to detail her approach to the evening’s artistic selection.

Saturday, May 7 brought about the first full day of Red Bull Guest House as some attendees made their way to the track to view the day’s practice and qualifying sessions. When night fell upon the Faena grounds, Guest House invitees were thrown into the contemporary experience of Autopista, curated by Teksupport, which underscored the modernity of the new racing scene and its ever-evolving marriage to dance music. The night featured DJ sets from the likes of Shit Robot, American Dance Ghosts, and Carlita and friends, the latter of whom kept the Faena’s speakeasy area moving and grooving until the early morning with modern house beats. Arca brought her unique and experimental style to the main theater with a Latin/bass/alternative-reggaeton mashup, which ultimately took home our pick for set of the night. As an additional surprise, the night ended with a back-to-back set from DJ Tennis and surprise guest James Murphy, of LCD Soundsystem.

The checkered flag flies for Red Bull Guest House, hosted during inaugural Miami Grand Prix Weekend [Review]Picture1.2
Pictured: DJ Tennis and James Murphy
Featured image: Jeremy Deputat/Red Bull Content Pool

With ticket prices soaring higher than the Super Bowl and the largest crowd to ever assemble at Hard Rock Stadium descending on the grandstands, come Sunday, May 8, the inaugural Miami Grand Prix would dazzle attendees who traveled from far and wide to witness the newest addition to F1’s Grand Prix calendar. Current world champion, Max Verstappen of Red Bull Racing, pulled off a convincing victory over Ferarri’s Charles Leclerc in the highly anticipated rubber match between the two top-ranked drivers. As aptly named “Mad Max” made his move to pass Leclerc and secure the lead on lap number nine, the Miami crowd erupted with excitement, with perhaps the loudest cheers coming from fans viewing the battle from the Red Bull Guest House.

When it was time for Red Bull fans and Guest House attendees to make their way back from the victorious day at the Miami International Autodrome, they had waiting for them a disco-inspired night of sound curated by Insomniac Events in tandem with Miami’s Club Space (yes, that Club Space, we know you’ve been there), “You Should be Dancing.” Soul Clap, Horse Meat Disco, and Channel Tres, who took over the main stage with his house-inspired hip-hop beats while debuting a new single, “6 A.M.,” proffered proper disco sounds in a fashion that simultaneously channeled the past, lived in the present, and faced the future of racing and dance/electronic’s intersection. “You Should be Dancing” was a suitable culmination to the Red Bull Guest House experience that served attendees an almost “’70s in Monaco” feel through disco-inspired beats that rocked well into the morning. 

The checkered flag flies for Red Bull Guest House, hosted during inaugural Miami Grand Prix Weekend [Review]Picture1
Pictured: Channel Tres
Featured image: Daniel Zuliani/Red Bull Content Pool

Red Bull Guest House delivered on its two missions: become the leading destination on and off the track for attendees of the inaugural Miami Grand Prix and seamlessly blend the modern racing lifestyle with influence and from the sport’s golden era in the 1960’s and 1970’s, through a dance/electronic lens. Guest House offered nonstop entertainment, culture, and hospitality throughout the Grand Prix weekend, owed in large part to Red Bull’s careful curation of the weekend’s events and entertainment. “I felt the pressure to represent,” Isabella Acker of Tigre Sounds reflected in an interview with Dancing Astronaut. “As a curator, you want to be positioning what is going to be viewed on a global platform…Red Bull is always pushing its limits…it’s an opportunity for Miami to show music beyond what is normally served to them.”

With the Miami Grand Prix set to become a sports and entertainment fixture of the city for the next decade, the fine points of how Red Bull Guest House will continue to evolve while redrawing the boundaries of racing lifestyle and heritage can be said to be equally as anticipated as the next Miami International Autodrome outing. But for this inaugural year, it was a P1 finish for the Red Bull team, both on and off the new Miami circuit. 

Featured image: Getty Images/Red Bull Content Pool

The post The checkered flag flies for Red Bull Guest House, hosted during inaugural Miami Grand Prix Weekend [Review] appeared first on Dancing Astronaut.

London’s Independent Label Market returns this summer

London’s Independent Label Market is set to make its return this summer.

Taking place at Coal Drops Yard in King’s Cross on Saturday 16th July from 11am – 6.30pm, the one-day event will host 80 labels selling rarities and exclusives, including Big Dada, Ninja Tune, Numero Group, Erased Tapes, Brownswood, Café Oto’s OTOROKU, Late Night Tales, and 4AD. See the full list below.

The event will also be “impeccably soundtracked” by various DJ sets from artists and labels throughout the day, with an afterparty at the nearby Spiritland venue.

Awesome Merch will be selling exclusive merchandise with proceeds donated to Disaster Emergency Committee’s Ukraine Appeal. Check out the ILM site for more info.

The UK capital’s 2020 edition was cancelled as a result of the coronavirus pandemic, but a winter event took place in 2021 to mark the organisation’s 10th anniversary.

Founded in 2011 out of Soho’s Berwick Street market, ILM has grown over the years to encompass events across the world, forging close ties to more than 600 imprints in the process. 

Read about how Taiwanese pressing plant Mobineko aims to reduce the global bottleneck for vinyl production

Premiere: Sandilé ‘Sista From Da Block’

Sandilé will release a new EP via Berlin’s Home Again Records this week. Listen to ‘Sista From Da Block’ below. 

The Cologne-based DJ and producer skips through classic garage, jungle and deep on the EP’s three original cuts. Opener ‘Bossbias’, an irresistibly nostalgic garage house pumper, originated as a collab with Zed Bias. The thumping deep house cut, ‘Trayvon’, comes paired with a remix from Amsterdam’s Malin Genie. 

‘Sista From Da Block’ is a slice of hypnotic jungle. Smooth synths and velvety vocals glide around quick-footed breaks, striking a fine balance between rolling and rowdy. 

‘Home Again 004’ will be released as a vinyl exclusive this Friday, 20th May. Pre-order it here.

New York State passes new bill limiting use of song lyrics as evidence in court

New York’s state senate has passed a new bill limiting the use of song lyrics as evidence in court.

Lawmakers voted 38-23 in favor of Senate Bill S7527, known as “Rap Music on Trial,” which has been in the works for months and has drawn support from hip-hop megastars such as Jay-Z, Meek Mill, and Big Sean.

The bill, which still needs to pass the New York State Assembly before it can become a law, would not be an outright ban on using lyrics but rather “limit the admissibility of evidence of a defendant’s creative or artistic expression against such defendant in a criminal proceeding”.

The bill aims to limit the admissibility of a defendant’s music or other “creative expression” as evidence in court. If fully passed, prosecutors will have to provide “clear and convincing evidence” that the words expressed in rap songs are “literal, rather than figurative or fictional.”

companion bill sponsored by Assembly Member Catalina Cruz is now pending before a committee and awaiting a vote.

Atlanta rappers Young Thug and Gunna are currently facing gang-related charges in Georgia and prosecutors are using their lyrics and music videos as evidence.

In 2016, Los Angeles rapper Drakeo the Ruler was eventually acquitted of the murder of a 24-year-old man but ultimately spent three years in prison while prosecutors attempted to use his lyrics as incriminating evidence.

Jay-Z’s lawyer Alex Spiro told Rolling Stone back in January that “this is an issue that’s important to (Jay-Z) and all the other artists that have come together to try to bring about this change. This is a long time coming.”

Democrat senator, Brad Hoylman, has highlighted the prejudiced attitudes that exist toward rap music, explaining to Rolling Stone that no one believes Johnny Cash “shot a man in Reno just to watch him die” or that David Byrne is a “psycho killer”. 

Read about how Manchester-based research project, Prosecuting Rap, is challenging the use of “rap evidence” in court. 

Anyma, Chris Avantgarde’s highly anticipated single ‘Consciousness’ hits streaming platforms

Anyma, Chris Avantgarde’s highly anticipated single ‘Consciousness’ hits streaming platformsAnyma

If you’ve ever liked a techno post on social media, then you’ve likely heard Anyma and Chris Avantgarde‘s latest single “Consciousness.” Out now through the Afterlife record label, “Consciousness” has circulated for months on Instagram and TikTok videos featuring breathtaking visual production from the melodic-techno duo, Tale of Us. Arguably one of the most anticipated melodic-techno tunes in years based on social media response, “Consciousness” now gets to see the light of day as an official release.

“Consciousness, Sentience of Internal, External or Virtual Existence.” These cryptic lyrics guide the trance-inspired melody into synths designed for extreme production and electrifying lasers. The upside down human, portrayed as the logo for the Afterlife record label, visually captures the questions of human knowledge, awareness, and ultimately, consciousness, in a video of “Consciousness” that can be viewed below.

Featured image: @Anyma_ofc/Instagram

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