EDM Global Producers

Rising Star SHERELLE to Host New Weekly Show on BBC Radio 6

From September 16th, SHERELLE is set to host a new weekly show on BBC Radio 6. The London-born DJ, whose audacious 160 BPM mixes, tear-the-roof-off rowdiness and spitfire drum & bass breaks have paved her way to the forefront of today’s U.K. rave scene, will take the reins of the 11pm—1am slot. She will be joining the likes of Mary Anne Hobbs, Jamz Supernova, Gilles Peterson and Tom Ravenscroft.

In an Instagram post to her followers, SHERELLE described the show as “the best thing that could cap off [her] 20s” and an opportunity to “represent [her] scene.” Expect “electronic music of all kinds [and] eras,” driving beats and an energizing mix of new releases and old favourites alike.

SHERELLE’s previous BBC Radio 1 Residency in 2021 saw her blend seasoned scene veterans like Luke Vibert or 4Hero with emerging stars like Mantra, Yazzus and Kush Jones. Her dedication to propelling dance music towards new frontiers has also inspired her launch of two independent labels, Hooversound Recordings and BEAUTIFUL, which platform the freshest talents on the UK club scene.

A forcefield in her own right, SHERELLE’s legendary debut on Boiler Room London in 2019 rocketed her into the limelight. Her breakthrough was as hard-earned as it was explosive.

Ever unstoppable, her electrifying fusion of oldskool jungle, footwork and daredevil drum & bass has set dancefloors ablaze across the U.K. and Europe. The critical acclaim and accolades haven’t stopped pouring in for the BBC Radio 1 Essential Mix winner, who has also graced Glastonbury and Unsound, featured on the fabric presents series and packed out the Warehouse Project, XOYO and Amnesia, among others.

Fans can tune into SHERELLE’s show on BBC Radio 6 Music every Saturday. Full steam ahead and you’re sure to be cruising into the night.

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Wolf Alice cover The Pogues, Alex G and more at intimate London charity gig

Wolf Alice played numerous acoustic covers of songs by artists including The Pogues and Alex G at an intimate charity show at London’s Sebright Arms this weekend.

The show was part of Barnfest, an all-dayer raising money for children’s cancer charity Flynne’s Barn.

The show included their cover of Alex G’s ‘Bobby’, which appeared on the deluxe edition of their 2021 album ‘Blue Weekend’, and renditions of The Pogues’ ‘I’m A Man You Don’t Meet Everyday’, Johnny Flynn‘s ‘The Water’ and the traditional American folk song ‘Plastic Jesus’. They also performed numerous acoustic versions of their own songs.

Wolf Alice. CREDIT: Sergione Infuso/Corbis via Getty Images

Check out the full setlist below [via Setlist.fm]:

‘How Can I Make It OK?’
‘Safe From Heartbreak (If You Never Fall In Love)’
‘Bobby’ (Alex G cover)
‘I’m A Man You Don’t Meet Everyday’ (The Pogues cover)
‘Plastic Jesus’ (traditional)
‘Lipstick On The Glass’
‘The Water’ (Johnny Flynn cover)
‘Bros’

The band recently appeared alongside Mel C and Self Esteem on the track ‘Call Me A Lioness’, which was recorded for the England Women’s World Cup team.

Shared today (July 19), the track celebrates their win at the UEFA Women’s Euro 2022, and rallied behind them ahead of the World Cup. It also makes reference to both Chloe Kelly and Ella Toone, who scored the winning goals at last year’s Euro Final.

The song arrives as an “unofficial” anthem for the England team, as the Football Association no longer commissions music for England’s international campaigns, following the 2014 men’s World Cup in Brazil.

Meanwhile, in December, Wolf Alice released a cover of the Christmas classic ‘In The Bleak Midwinter’.

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Swiss Talent DNO Lands On Future Soundz With Funky House Gem, “GET BACK”

Swiss DJ and producer DNO is gearing up to make waves with his latest single, “GET BACK.”

Out via Future Soundz, a sublabel of k-direct Music, “GET BACK” is a compelling blend of bass-driven house grooves and subtle hip-hop elements, crafted to deliver an electrifying listening experience. The track draws inspiration from the vibrant energy of urban nightlife and is tailor-made for the dancefloor.

“GET BACK” quickly gets into action by virtue of infectious vocal samples and warm 808s before gliding basslines, organic percussion and thumping kicks take over in the drop, which is as explosive as it is intricate.

Take a listen to “GET BACK” below.

DNO’s journey was heavily influenced by his family’s musical background. Inspired by the musical prowess of his father, who was an accomplished guitarist, he ventured into DJing and rapidly rose through the ranks to become one of Switzerland’s most promising talents.

With coveted residencies at renowned Swiss clubs like Kaufleuten Club in Zurich and ROK Club in Luzern, his eclectic style consistently wins over his audiences.

DNO was known in the scene as a trap producer and changed his style in January 2023, having released over a handful of standout singles thus far. As the Swiss talent continues to ascend within the dance music scene at large, “GET BACK” is just a glimpse of what he has in store for the future.

FOLLOW DNO:

Facebook: facebook.com/DNOmusicProd
Instagram: instagram.com/dnomusic
Spotify: spoti.fi/3Pcb0sS

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Yeah Yeah Yeahs announce North America shows

Yeah Yeah Yeahs have announced a trio of concerts in North America later this year.

The New York band will kick off their run at the MGM Music Hall in Boston on November 6, The Met in Philadelphia on November 8 and History in Toronto on November 11.

Tickets, which you can purchase here, go on sale this Friday (September 15) at 10am EST (3pm BST) and a presale will be held tomorrow at the same time.

The concerts follow their recent show with The Strokes at All Points East in London last month.

Earlier this year, the band commemorated the 20th anniversary of their debut album ‘Fever To Tell’ with the release of a half-hour documentary.

There Is No Modern Romance was shot on the band’s 2002 tour by their frequent collaborator Patrick Daughters.

The documentary isn’t the only major filmic project Yeah Yeah Yeahs have been associated with recently. They were also a part of Meet Me At The Bathroom, a film adaptation of the oral history by Lizzy Goodman’s acclaimed oral history of the early 2000s New York City music scene. Frontwoman Karen O is shown in footage from previously unseen interview tapes, relating her journey from Ohio’s Oberlin College through the New York anti-folk scene.

“She’s a person with a duality to her, starting with her own ethnic identity, being mixed race, but then she’s almost like two people,” director Dylan Southern previously told NME. “There’s a Jekyll and Hyde aspect to her in that she’s very, very shy, and not very forthcoming in real life but then on stage she’s created this monster. It was very liberating for her to be that person, but it was also incredibly destructive. I think the weight of the audience’s expectations on how crazy or how far she would go on stage was the thing that took its toll eventually.”

Reviewing the film, NME awarded it four stars and said it makes for “a lively snapshot of a very exciting period in rock history. Veterans and newcomers alike should check it out”.

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Spotify Launches Personalized Playlist That "Evolves With You" Throughout the Day

Spotify has launched daylist, a new personalized playlist feature that “evolves with you throughout the day,” according to the company’s CEO, Daniel Ek.

Using their bottomless pit of music metadata, Spotify has essentially curated a living playlist that caters specifically to your patterns of engagement. Dubbed daylist, the playlist reflects your mood based on your listening habits within the app, frequently populating with a new title and list of songs every time it updates.

The daylist feature is designed to be a companion, bringing together “the niche music and microgenres” you usually listen to during particular moments in the day or on specific days of the week, Spotify said in a blog post.

The “hyper-personalized” playlist is said to adapt to your current mood, so if you’re typically a morning person, it might start the day with more upbeat songs. And if you’re a night owl, it might end with downtempo or lo-fi music.

Spotify

Similar to the kitschy feel of Spotify’s annual “Wrapped” campaign—another byproduct of the company’s boundless data mining capabilities—the cringe factor of daylist is strong thanks to nauseating titles like “90s rave rainforest late night.” They’ve also naturally built shareability into the playlist experience, allowing users to share a tailor-made screenshot or a social media sticker that “captures the essence” of their daylist.

As of today, daylist is available to both Free and Premium Spotify users across the U.S., Canada, the U.K., Australia, New Zealand and Ireland.

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Kylie Minogue on how fame took a toll on her mental health: “I lived that”

Kylie Minogue has opened up about how fame took a toll on her mental health sharing she had lived through that.

READ MORE: Kylie Minogue – ‘Disco’ review: a terrific fit for this seasoned showgirl

In an interview with Rolling Stone UK, the pop icon spoke about how certain aspects of fame are not easy to deal with and noted how it is easier to have open conversations about struggling with mental health now.

“What I think is great for a lot of people now is that there’s a discussion about mental health and the toll [fame] can take on people, I had that, I lived that,” she said.

The singer also shared that she was also conscious of keeping her family and close friends safe and well along with herself.

“I was able to manage that myself and with my family and close friends and navigate those waters. It wasn’t a decision [to stay private], it was a reaction to protect myself and to protect my family because they would go through it with you,” Minogue said.

In the interview, she also addressed how she protects her privacy explaining that she has a “common sense” element to her approach, but it does take “some sacrifice”. “I can really go from doing a full kind of blitz of doing it all and then stop and recalibrate,” she said.

In other news, Minogue recently shed new insight into recording her latest single ‘Tension’ – describing how she and her collaborators were “jumping on sofas” to make the song.

“They came in with this incredible energy,” she said. “‘Tension’, it’s one of those ones that you don’t really even know how it happened. We were just vibing and all the whooping and stuff that we’ve kept on the record was literally us just screaming our heads off and going, ‘Did you just say that? Did you just say that?’ ‘Yeah, I said it.’”

‘Tension’ is the titular track of Minogue’s 16th studio album, which is set for release on September 22 via Darenote/BMG (pre-save/pre-order here). The album is said to be inspired by ’90s house music, ’00s club classics, and a genre Minogue dubbed as “emoto-pop”.

She also recently announced details of a one-off show at London’s Royal Albert Hall show this December.

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New Burning Man Docuseries to Feature Footage From Turbulent 2023 Event

Footage from Burning Man’s chaotic 2023 edition will appear in an upcoming docuseries about the legendary annual event.

Produced by a trifecta of production houses, Double Agent, Noujaim Films and The Othrs, the project will additionally feature archival Burning Man footage from the last three decades in the Black Rock City metropolis.

This is not the first time a film has been produced about Burning Man. But this particular effort, titled The Man Will Burn, is the first to be created in partnership with the Burning Man Project, the nonprofit which leads the organization of the event, according to Deadline.

The film’s production crew was onsite at this year’s Burning Man during what ultimately became a tumultuous event due to climate-related factors, which caused flooding and left thousands stranded in the Nevada desert.

Some were brave or resourceful enough to escape the playa, like Chris Rock and Diplo, who reportedly walked six miles before hitching a ride on the back of a pickup truck back to civilization.

Production on The Man Will Burn started much earlier in 2021, however, and the crew have been onsite at Burning Man over the course of the last three years. No release date for the docuseries has been determined at the time of writing.

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Kendrick Lamar impersonator uses blackface and N-word on game show

A Kendrick Lamar impersonator has sparked controversy by wearing blackface and using the N-word during a TV performance.

Polish singer Kuba Szmajkowski – who is white – recently participated in the Spanish version of Your Face Sounds Familiar, a reality show where contestants impersonate famous artists.

Szmajkowski delivered a cover of Lamar’s 2017 hit single ‘Humble’ in the studio, and went on to win season 19 of the programme, according to HipHopDX.

Ahead of the episode, the singer shared an Instagram video of himself that shows his transformation into Lamar. He is given a bald cap and some fake cornrows, and applied with blackface makeup. Three images of the real rapper can be seen next to the mirror.

Szmajkowski then chose not to censor the N-word in the televised performance. However, the word has reportedly been removed from the YouTube video. In the comments section, one person wrote: “You can appreciate the culture or the art without being offensive or doing blackface FFS.”

Another viewer said: “Trash! Why was this the song he chose tho..? why was it approved? I got too many questions.”

Replying to Szmajkowski’s Instagram post, a third person commented: “This is top racism. Do you not see how inappropriate this is? Not to mention offensive? Wrong. Stop it.”

Elsewhere, a user wrote: “PUT IT DOWN. Google BlackFace and learn from your mistake. It’s 2023.”

According to Consequence, previous seasons of Your Face Sounds Familiar have also seen white singers portray the likes of Snoop Dogg, Michael Jackson, Bob Marley and Tina Turner.

Currently, the reality show airs iterations in various locations including former Yugoslavia and parts of central Europe. It was noted in a 2021 essay by writer Catherine Baker that these don’t have the same history of colonialism and racial oppression as the US and UK do.

In other news, Kendrick Lamar last week joined Beyoncé onstage in Los Angeles to perform the live debut of their ‘AMERICA HAS A PROBLEM’ remix.

Back in June, the rapper performed at Governors Ball 2023 in New York City. NME hailed his set as “one of the most lively performances of the weekend” in a four-star review of the festival.

“Fans from all over the city come together for the set, dancing on shoulders and singing in unison as if this was the moment they’ve been waiting for all their life,” it added.

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Investigative Report Suggests Crime Syndicates Are Leveraging Spotify to Launder Money

An explosive investigation by Swedish newspaper Svenska Dagbladet has alleged that regional criminal syndicates are laundering money through a scheme driven by fabricated Spotify popularity.

Over the course of its investigation, the outlet interviewed anonymous members of participating crime networks and at least one anonymous police investigator. Participants would allegedly exchange fiat currency for Bitcoin and purchase fake streams for their gang-affiliated artists by way of vendors on Telegram. The artificial streams created an aura of legitimacy that would then drive real listeners to explore the music as well, thereby generating incremental revenue.

One million streams in Sweden generates roughly between $3,600 to $5,400 in the U.S. dollar equivalent. One gang member, going on the record anonymously, stated the bot managers “made sure we ended up at the top of the charts.”

Meanwhile, the anonymous investigator who participated in the publication’s report said that Spotify did not respond to his attempts to make the Swedish streaming giant aware of the issue. Issuing a statement, a Spotify representative said the company was unaware of the outreach.

“Manipulated streams are an industry-wide challenge and Spotify has been working hard to address this issue,” reads the company’s statement, per The Next Web. “That said, Spotify is not aware of any contact by law enforcement concerning the suggestions in the SVD article, nor have our internal teams found anything or been provided with any data or hard evidence that indicates that the platform is being used at scale in the fashion described.”

Spotify elaborated and said that their data suggests only 1% of streams across the platform are artificial in nature.

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Corey Taylor says touring with Slipknot is “hard fucking work”

Corey Taylor has once again opened up about the physical demands of touring with Slipknot, saying that it is “hard fucking work”.

The frontman, who will turn 50 in December, said over the summer that he thinks he has “maybe five years left” of touring to this level with the masked band.

READ MORE: The NME Big Read – Slipknot: “Nobody created us except us – we have always drawn our own map”

Taylor explained that he would continue to perform live “as long as [he] can physically do it”, but said he’d “help [Slipknot] find somebody” to take over should he decide to retire from the road.

Now, in a new interview with Rock Feed, the vocalist has spoken further on how long he thinks Slipknot can go on, and how his various physical ailments can impact his job in a live setting.

“I’ve already said that physically I maybe have five years left, but at the same time, I go out of my way to really try to take care of myself,” he told the outlet (via Blabbermouth).

“Now I have a lot of fucking miles on me. It’s hard for me. People don’t realise this, but when I walk, I’m almost in constant pain. It’s the knees, it’s my feet. I have a broken toe on this foot. I have gout across my feet. It gets up into my joints and shit. Yeah, it’s tough. I’m not as nimble as I used to be. I’m not 35 anymore. It’s hard, but there are ways to do shows that don’t require being that crazy now.”

Taylor went on to explain how “travel doesn’t lend itself to being healthy”, adding that it causes you to “eat like shit” and “sleep like shit” on a regular basis. “And nine times out of 10, you’re gonna play like shit,” he said. “We don’t want that. So it’s tough.”

The musician continued: “Even a guy at my level, it’s not always laid-out catering and the best food and the best people. Sometimes it’s a soggy sandwich at 12:30 in the morning, and you’re looking at it, going, ‘If I put this in my body, I’m gonna throw up’.

“People don’t fucking get that. You know why they think that? It’s because that’s all they see on Instagram, on TikTok, on this and that, and you’re seeing the commercials. There have been times we’ve gotten off stage, we’ve gone right to the airport, flown out. We don’t sleep until seven the next day. And now we’re just all [exhausted].

“Our crew gets it even worse, ’cause they have to fucking go in, make sure everything’s good, and then they can go fucking take a nap. So it’s not gravy all the time, man. It’s tough. It’s hard fucking work. Even at our level, it’s hard work.”

Slipknot have been touring this year in support of their seventh and latest album, 2022’s ‘The End, So Far’. Taylor, meanwhile, is set to embark on a run of UK and European solo dates in November (find any remaining tickets here).

His second solo album, ‘CMFT2’, will be released this Friday (September 15). Pre-order/pre-save here.

Speaking about this possibility of quitting touring this summer, Taylor told Rock Antenne: “If the quality starts to fail, then I’ll know it’s time to hand it in. And I’ve already thought about it – I’ve already thought about, maybe I’ve got another five years left of physically touring like this. I try to take care of myself. I work out when I can.”

He added: “The travel out here [in Europe] is exhausting; the food is horrible; so it makes it hard to do that. But as long as I can keep at it, that’s at least what I wanna do. So, yeah, it is what it is.”

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