King Gizzard And The Lizard Wizard have shared a 1.5-hour concert film of their recent performance in Melbourne.
Titled Live in Melbourne ’21, the show was held at Sidney Myer Music Bowl in February for the Summer Sounds concert series. The footage was recorded by Nico Wilson and Sam Joseph with mixing by band member Stu Mackenzie.
The 18-track set draws largely from King Gizz’s recently released albums ‘K.G.’ and ‘L.W.’, with singles such as ‘Honey’, ‘ O.N.E.’ and ‘Pleura’, among others, included in the show.
Watch the concert film below:
‘K.G.’ and ‘L.W.’ were released within less than half a year of each other, with the former arriving in November and the latter last month. Both records experiment with microtonality, and are sequels to 2017’s ‘Flying Microtonal Banana’.
Upon its release, NME gave ‘K.G.’ a three-star review, pointing out that “there are some great songs here, but they don’t feel like they’re breaking new ground – a big deal for a band who have relentlessly pushed things forward”.
“No doubt many of these songs will go on to be fan favourites, but while it’s not a step backwards, it certainly is a step sideways for a band who until now have been in perpetual motion,” the review read.
Out yesterday was Arcane, the new EP from Dion Timmer, signaling a new era for the young producer. Having released music since 2014, his vast discography immediately captured the attention of many, including Excision, who’s been instrumental in growing his brand. But as an artist, it’s all been Dion and now he’s ready to take the next step.
Arcane is a beautiful new 7-track experience released this week on Subsidia, bringing together multiple different styles of bass music, and artists like Lucii, G-Rex & Armanni Reign, Azuria Sky, Excision & Monika Santucci, and Teddy Killers.
“Arcane is a fresh take on how I see my art, zooming out from the neon city into the more organic parts of my personal universe. The music remains similar to my older pieces, but a little more ‘alive.’” – Dion Timmer
Also included in the EP is a nearly hour-long Arcane Mix that even further represents the musical style that Dion is leaning toward at the moment. Check that all out below!
A new data-driven initiative from Spotify called Loud & Clear aims to provide increased transparency around the economics of streaming.
“Questions and concerns about artist income from streaming have been around for over a decade, and in many ways, we feel we’ve been too quiet on the topic,” the streaming site reads. “Our aim with this site is to provide a valuable foundation for a constructive conversation.”
The new initiative tackles both the macro- and micro-economic picture, starting first by broadly informing readers on the impact of streaming to the music industry as a whole, and then breaking down the mechanics and stakeholders within Spotify’s business model.
In many ways, Loud & Clear reads like a direct rebuttal to music rights holder organizations such as the United Musicians and Allied Workers Union, which recently spearheaded a campaign for one-cent streaming payouts on Spotify. The organization has been critical of Spotify, stating that despite Spotify’s increasing valuation, rights holders have not seen an increase in their royalty rates. Spotify operated at a profit for the first time in Q4 of 2018.
In one section, Spotify directly addresses their logic for not focusing on rate per stream. “In the streaming era, fans do not pay per song so we don’t believe a ‘per stream’ rate is a meaningful number to analyze,” the company states. “Our model drives more fan engagement and generates revenue from more places — that means larger total checks from Spotify to rights holders.” They later state that Spotify has generated more income for rights holders compared to its competitors. The company has paid out $23 billion to rights holders in total, including $5 billion in 2020 alone.
United Musicians and Allied Workers UnionCo-FounderDamon Krukowskiresponded to the company’s initiative suggesting their transparency has been insufficient. He reiterated the organization’s desire to gain insight into Spotify’s existing agreements with major record labels and the company’s income generated from channels outside of subscriptions and ad sales.
Edgar Wright’s documentary on pop-rock duo Sparks will be released in US and Canadian cinemas later this year.
The Sparks Brothers takes a deep dive into the careers of Ron and Russell Mael over five decades, complete with an archive of TV and concert clips. A string of musical guests were interviewed for the documentary, including Steve Jones of the Sex Pistols, Franz Ferdinand’s Alex Kapranos and Flea from Red Hot Chilli Peppers.
The Sparks Brothers premiered at Sundance Film Festival earlier this year. Now, Wright has confirmed on social media that the film will arrive in North American theatres on June 18.
A UK release date is yet to be confirmed, however, Wright did suggest on Instagram that more international release dates would be revealed soon.
The documentary was given a four-star review by NME, which praised its “loving dissection” of the Mael brothers’ extensive history.
“At 140 minutes, and with a cast-list of more than 80, you could almost argue that The Sparks Brothers is too exhaustive – but for a band whose fans are as committed as Sparks’, there’s unlikely to be too many complaints. Still, less is often more when it comes to moviemaking,” the review read.
HNTR, the Toronto-based techno force previously known as Hunter Seigel, takes his technology-driven moniker to new heights with his latest EP. Mind Gamesand its accompanying crpytoart collection, the HNTR x No Neon Genesis Collection, marks the producer’s second major release following his 2020 endeavor, I Might Forgive, I Don’t Forget.
The release of the EP is prefaced by the debut of its leading singles, “Mind Games” and “The Odyssey.”“Inception” and “Infinity” round out the four-track album which features a variety of sounds, including swirling snyth lines and dark, industrial warehouse beats.
The theme of the album invites listeners to contemplate the digital world we live in. HNTR describes the project’s concept, saying:
In 2021 we live entirely in an alternate cyber reality, connected but disconnected. When making Mind Games, I wanted the EP to take you on a journey through our perception of our place in the universe as it relates to our association with technology. The vocals on each track and the accompanying melody are meant to tell a story of that journey from the beginning of the odyssey to the end of infinity. – HNTR
The NFT collection offers a visual experience to accompany the album’s leading tracks, “Mind Games” and “The Odyssey.” HNTR partnered with creatives at his No Neon label to create the works, which depict a man trapped in cyberspace.
Fall into the cyberspace with HNTR’s latest EP below.
While large scale events for 2021 have generally remained on ice, Burning Man has sent out a signal to its theme camps to consider planning for a possible event this year.
To be clear: Burning Man organizers have not yet officially indicated that a 2021 event is in the cards. In mid-February the festival communicated to fans via an official blog post that it was “simply too early to make the call.” In that same correspondence, they committed to deliver a final answer to stakeholders by no later than the end of May.
Despite the indecision, an email from Burning Man’s placement team was recently sent to camp organizers suggesting they engage their camps. “Consider this a gentle nudge to start talking about your camp again,” the email reads. “Put out your feelers among your campmates, and see how they’re thinking about Burning Man this year.”
For any of the 1,200 camps comfortable with returning to Black Rock City in 2021, Burning Man’s direction was for these camps to submit an early placement decision form by the end of the month.
A Burning Man survey conducted in January with 30,000 respondents suggested the majority of attendees (66%) would be comfortable returning to Black Rock City if the public health situation allowed it. The results lend credence to the possibility of Burning Man potentially being able to hold an event later this year at reduced capacity.
Up-and-coming artists DansDemand and Lost in Beijing join forces on their brand new single, “War Of The Worlds” out now via Reinelex Music. Both artists are known for creating truly impressive beats and they surely do not disappoint with their newest single.
“War Of The Worlds” starts off with a cinematic vocal intro where the listener is taken to a world soon to be invaded. The track continues with thunderous bass stabs and an increasingly tense buildup filled with bright, punchy synths. This is a track made for dubstep enthusiasts and anyone looking to add a little bit more fun to their week! Take a listen down below:
Over a screenshot of the article, Del Rey wrote in red text: “Just want to thank you again for the kind articles like this one and for reminding me that my career was built on cultural appropriation and glamorizing domestic abuse. I will continue to challenge those thoughts on my next record on June 1 titled ‘Rock Candy Sweet’.”
In another Instagram Story, Del Rey shared a screenshot of a paragraph from the Harper’s Bazaar article, highlighting lines that referred to comments she had made in January about the cover art of ‘Chemtrails Over The Country Club’, in which she said, “There are people of color on this records picture.”
She later elaborated on her comments, saying, “I knew what people were going to say. So when they actually started saying things, I responded and I just said, ‘I got a lot of issues but inclusivity ain’t one of them.’ It just isn’t. You can’t just make it my problem.”
The Harper’s Bazaar article also referred to comments Del Rey had made about former US President Donald Trump and the storming of the US Capitol. In an interview with BBC Radio 1’s Annie Mac, she said she didn’t think Trump knew he was inciting a riot, saying he had “delusions of grandeur”.
Del Rey later clarified her comments, which she said publications had taken out of context: “Trump is so significantly impaired that he may not know what he was doing due to his significant lack of empathy and the wider-ranging problem is the issue of sociopathy and narcissism in America,” she said.
“The defensive note was unnecessary, as nobody had significantly criticized Del Rey for ‘including’ people of color in her upcoming album,” the Harper’s Bazaar article read. “And her need to disassociate herself from the Nazi-led riot on Capitol Hill was also curious given Del Rey’s longterm public opposition to former president Donald Trump.”
In her Instagram Story, Del Rey wrote in red text over a screenshot of the above passage: “You’re right it would have been unnecessary if no one had significantly criticized everything about the album to begin with. But you did. And I want revenge.”
See Del Rey’s Instagram Stories below.
Credit: Lana Del Rey official Instagram
Credit: Lana Del Rey official Instagram
Last Friday, Del Rey released ‘Chemtrails Over The Country Club’. In a five-star review, NME’s Rhian Daly wrote that “Lana Del Rey is at the peak of her game – just don’t expect her to come down anytime soon”.
Always innovative DJ/producer Boys Noize unleashes two impressive productions today, “Ride Or Die” with Kelsey Lu featuring ChillyGonzales, and “IU” featuring Corbin. They’re posed as (+) side and (-) side tracks, sharing beautiful, musical ties between reflection and release.
“Ride Or Die” demonstrates fluid creativity with a slow-burning passion. Kelsey Lu’s voice eases into metallic plucks and we’re instantly engrossed in the atmosphere. Also featuring Grammy-winning Canadian musician Chilly Gonzales, the track “reflects upon the tumultuous emotional tenor of our uncertain future before exploding into delirious, peak-time techno.”
“IU” follows up with an aggressive demeanor, building a fierce world around dark RnB innovator Corbin. A melancholic production with looped vocals leads into spitfire breaks and frenzied synths before erupting into the track’s “overclocked, redlined tempo.” As “Ride Or Die” captures the essence of reflection, “IU” does that for release.
The press release describes the double release as a “flood of emotion and conflict,” and we couldn’t possibly describe it any better. “Both tracks share a frenetic tempo, boldly declaring that the energy of club culture will not falter, even when facing the myriad pressures of a world in distress.”
German-Iraqi talent Boys Noize, real name Alex Ridha, has influenced underground and mainstream electronic music for 15 years running. With this kind of experience and excess energy to spare during lockdown, his recent studio time has led to these momentous productions.
Listen to both tracks and see the music video for “Ride Or Die” below. Scroll down for full statements from Boys Noize and Kelsey Lu on the making of their track.
Boys Noize & Kelsey Lu – “Ride Or Die” feat. Chilly Gonzales
One day, Gonzo sent me a recording of him playing a particular kind of harpsichord called a spinet, and I immediately had the idea of bringing a big musical contrast to the spinet’s delicate notes. The first layers I added were a really dark percussive tribal sound with heavy 909 drums on top. This combination of the classical and the “hi-tec” made me think of Kelsey Lu, who I had seen live shredding on a cello she patched through crazy guitar pedals. Besides loving her music, the experimental approach to sound that we shared convinced me we had to meet. When we finally got together the studio was filled with a rare, special energy, and the first music I played for Kelsey was my rework of Chilly’s spinet. We started on it right away, recording Kelsey’s vocals through my modular system, bending her voice in wild ways, bringing it in close and then far away again, keeping in mind a vision of contrasts combined into something greater than the sum of their parts. Amazingly, everything we recorded in that magic session ended up in the final version of “RIDE OR DIE.” — Boys Noize
I loved making this song with Alex so much because there was just freedom of exploration. It came about so organically. When Alex first played me this track at its early stages I was immediately sucked into the textures that Chilly had added. I found a comfortable meeting ground within the merging of acoustically produced textures and electronic ones. I’m a very visual person when it comes to songwriting, and nature is always a part of that visualization. There was a momentum of tension, and I wanted to soar through that. The desert kept reappearing. Its heat, its vast expanse of space, and its dangers. Sort of like a fleeting romance. It could go so many ways, often disastrous, but whichever way it goes, trust in yourself and the many sides we hold because, in the end, you are a powerful bitch. Be your RIDE OR DIE. — Kelsey Lu
Foster The Peopleand The Knocks have revisited three 90’s classics, delivering new spins on timeless originals from The Verve, Beck, and Moby on their collaborative Melody & Silence EP.
In their rendition of The Verve’s now two-decade old hit “Bittersweet Symphony,” Mark Foster‘s delivery and tone bears an uncanny likeness to the original. While his performance impressively preserves the toiling and nihilistic spirit of The Verve’s 1997 work, the production side embraces brighter sonic elements, like clean-cut electronic drum programming and floating piano chords.
Next up, the artists took to the grungier side of 90s rock with their remix of “Devil’s Haircut.” With their new spin, the artists lean into the distorted elements of the original, producing swirling vocal distortions to add a perceptibly trippy feeling to the track.
Finally, the frequent collaborators took on remixing Moby’s “South Side,” a single with an award-winning music video, which parodied the garishness of club culture. The Knocks and Foster The People delicately balance the subtleties of this cross-genre track, which incorporates both hip-hop and dance music elements and an unforgettable singalong chorus.
Listen to all three covers plus an alternate version of their original collaboration “All About You” on their full Melody & Silence EP.
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