Carl Cox and Bushwacka! are leaving nothing to the imagination in their cathartic new track, “Music Is Life.”
Out now on the latter’s Oblong Records, “Music Is Life” features the iconic Chuck Roberts, who is prevalently considered “The Voice of House Music.” Paired with the track’s thumping snares, his soulful vocals and ad-libbing lend to a carefree jam you’d hear when the sun starts to creep in through the windows after an all-night rave.
Meanwhile, the track’s “Deep Mix” takes it to the White Isle with its chugging bassline and hypnotic, swelling pads. Here, the tech house sound of the influential Bushwacka! shines through as Cox’s propulsive techno production ebbs and flows through the arrangement.
“It’s such a great vibe and there is nothing that sounds like it right now,” Cox said of the new release. “It’s paving the way forward.”
A flash mob surprised Leigh-Anne Pinnock before she collected her honorary doctorate from Buckinghamshire New University (BNU) last week.
The chart-topping pop singer and Little Mix star was being awarded for her successful music career as well as her active philanthropy, including co-founding The Black Fund – a charity to promote racial equality and anti-racism.
She returned to her hometown of High Wycombe and walked around BNU’s campus with The Repair Shop host Jay Blades before dance and performance students from the university did an impromptu dance for the 31-year-old to her debut single, ‘Don’t Say Love’.
Last Wednesday (July 26), whilst accepting her honorary doctorate, Pinnock said: “Growing up, I must have walked past BNU’s High Wycombe campus a million times, curious about what was being studied and taught there. But in all that time I never imagined I’d be stood here today with an honorary doctorate in the arts.
“It’s such a privilege to be recognised by such a credible, creative, and supportive university so I am extremely happy and proud to be here today. And while I am blessed to have had a successful recording career, it is so rewarding that it’s my work as a campaigner for racial equality and anti-racism that is being recognised today. Alongside my music, this is a role that becomes more important to me every single day.”
Leigh-Anne Pinnock and Jay Blades with BNU flash mob. Credit: Andrew Matthews/PA Images via Getty Images
Pinnock encouraged the students to believe in themselves and to “surround yourself with others who believe in you too” because with a lot of work and a bit of luck “your goals are achievable”.
The singer said: “In many ways, my story is one that I think mirrors many of the students’ experiences here today. It’s a story of a woman who had a passion, who had a goal that she thought might just be achievable. But it’s also a story of a woman who thanks to the support of her mentors and believers along with a lot of hard work and dedication, eventually got where she wanted to be.”
Leigh-Anne Pinnock accepted the honorary doctorate after a month after releasing ‘Don’t Say Love’, her dance–pop debut single that peaked at Number 11 on the UK Top 40. Now known as Leigh-Anne, she said the track “is about no longer seeking external validation and regaining my confidence and sense of self in a world where I often felt misunderstood and unheard.”
Pinnock gained fame as a part of Little Mix. They formed in 2011 and became one of the best-selling girl groups of all time by 2022, as well as one of the UK’s biggest-selling acts. They sold over 75 million records worldwide and earned six UK Platinum albums and over 15 billion streams.
The band’s original line-up included Jesy Nelson, Jade Thirlwall and Perrie Edwards. Nelson left the group in 2020 before Thirlwall, Edwards and Pinnock decided to go on hiatus and work on their solo endeavours last year.
Following the band announcing their “break” in 2021, Pinnock made her film debut in the Christmas movie, Boxing Day.
Okay, so maybe the subtitle is just a very niche fantasy held by only the author of this article and some other vintage tech geeks, but a form of progressive electronica has been making its way through the ranks recently, and even more indie electronica acts like Gorillaz and Bonobo do take a couple of pages here and there from the prog rock book. That said, it’s likely not many EDM fans or even more experimental electro lovers would think to put the likes of Yes, Frank Zappa and King Crimson together with synthy electronica melodies and backing.
Luckily, Canadian singer, multi-instrumentalist and producer Wes McClintock has endeavored to merge these two seemingly opposing worlds, and the result is equal parts soulful and interesting with just a little bit of musical wackiness thrown in. His newest album, Open Dream, layers various types of vintage keys, heavy analog bass and an indie rock core to create this fusion. It incorporates loads of different styles to achieve this, playing on the edge of early 2000s hipster rock while bringing in earlier influences like funk, folk, prog rock and, of course, vintage synths like the legendary Moog to pick up almost everything awesome from he late 60s through to today.
Open Dream opens with an 80s synth-heavy instrumental track called “Sky.” A true intro to the next intro, “Sky” sets the tone of the album, adding a loungey groove from McClintock’s funky bass and at least two more types of vintage synths into the mix. Just as it seems like the tune is about to drop into the rest of the song, it fades out before the next song, “Imaginary Sounds.” Much more in the indie camp than its predecessor, “Imaginary Sounds” has the warmth and depth many indie rock tracks lack nowadays, and that’s supplied by the expertly played bass and backing electronic sound design. This is a theme that repeats throughout the album, no matter what style or genre McClintock decides to stuff into each track, and likely is and will be part of his signature sound.
“Falling,” Open Dream‘s third track, is where listeners will really hear McClintock’s love for prog rock, with a bassline and composition clearly influenced by the legendary Canadian band Yes’s most famous track, “Roundabout.” “Falling” is much spicier, however, as towards the end its impeccable structure purposely devolves into more chaotic synths and a dissonant, almost Zappa-esque guitar solo beings the track to an abrupt stop. What awaits it after that high-energy, beautiful mess? Nothing other than the sweet, soothing tones of a celestial folk song, called “Waiting In Line.” It’s clear by this arrangement that McClintock doesn’t intend for the listener to get used to any one style before he switches it up completely, which is smart. Fans can pick their faves for playlists but it also makes for an exciting journey along the trajectory of this album and possibly introduces people to styles, genres and modes of listening to which they’d never otherwise be exposed.
Open Dream continues to toggle between styles as it continues on, sucking up more and more styles and subgenres in its path. Shrewd listeners will be able to pick up some industrial programming in “Breaking Into Noting,” a faint soupçon of trap in “Last Time” and some Daft Punk-like funky house in “A Different Kind of Sane” but it’s really about the composition that makes the album work on a whole. Then the album closes with another instrumental track called “Sand,” a fitting way to bring the dreamer back to earth.
Picking up on the name, Open Dream is truly an open forum of ideas and styles with an emotive, relatable heart that allows it and McClintock to transcend genre. Tldr: it’s just really good music.
Open Dream is out now and can be streamed on Spotify or purchased on Bandcamp.
As organizers celebrate yet another successful entry in the Tomorrowland saga, the cries of those wishing they were in attendance have grown to a deafening roar. In order to satiate those with a terminal case of FOMO, the minds behind the world’s leading electronic dance music festival have quickly released over 40 complete performances from this year’s outing.
Fans can now watch HD recordings on YouTube of Alesso, Hardwell, Dom Dolla, Amelie Lens, Indira Paganotto, Adam Beyer, Mau P, Alok and many more throwing down from the jaw-dropping stages of the Belgian festival. You can hear a variety of sounds in the realms of techno, house and beyond while trying to pinpoint the most-played songs of the weekend.
Check out each Tomorrowland 2023 performance below.
Taylor Swift has reportedly given the truck drivers working on her ‘Eras’ tour bonuses of $100,000 (£77,000) each.
The hefty bonuses were allegedly given to the production truck drivers ahead of her extensive list of US Tour dates drawing to a close.
As reported by The Line Of Best Fit, sources have said that she gave each of the production crew responsible for hauling her equipment around the country a bonus of $100,000 (£77,000) each. It also reports that the pop star has around 50 truckers working as part of her ‘Eras’ tour, equating to a total cost of $5million (£3.9million) in bonuses for those members of the crew alone.
The sources also claim that a “very generous amount” of bonuses were also awarded to other crew members working on the tour. Although specific amounts were not shared, the extra income went to team members including band members, dancers, lighting and sound technicians.
Taylor Swift performs onstage during the ‘Eras’ Tour at Lumen Field on July 22, 2023 in Seattle, Washington. Credit: Mat Hayward/TAS23/Getty Images for TAS Rights Management.
Currently, Swift has been making countless headlines with her ongoing tour, and the series of live shows are set to become one of the highest-grossing tours of all time – reportedly bringing in over $1billion (£778million).
What’s more, over the weekend it was also announced that the crowd at her Seattle shows last month caused activity similar to a 2.3 magnitude earthquake. The moment took place as her tour hit the city’s Lumen Field venue for two nights on July 22-23.
In other Taylor Swift news, at her recent shows in Santa Clara, Haim appeared on stage as special guests — dressed up as the step-sisters from ‘Bejeweled’ and performing ‘No Body, No Crime’ with her.
The North American leg of the tour will finish up with a six-night run at Los Angeles’ SoFi Stadium. From there Swift will bring the tour to international venues.
The UK and European leg of the tour kicks off in Paris on May 9 next year, and wraps on August 17, 2024 in London.
Australian DJ, Producer, Audio Engineer, and founder of record label Sorta Kinda Music Damo Cox is a true sonic maven with an unapologetic captivation for all genres of music. Currently residing on the sunny shores of the Gold Coast in Queensland, Damo delivers his tunes straight from the studio to festivals including Splendour in the Grass as well as clubs & bars from Cairns to Sydney.
His music speaks for itself and his latest EP ‘Wub Me’ is yet another gem to add to his toolbelt. It’s a fantastic musical rollercoaster that takes you on a wild journey through the world of house music.
The first track, “Get With Me,” is pure dancefloor magic that offers rumbling bass grooves and seamless sampling that makes this one irresisable. “Deep Wubs,” follows and pans out to be the chill counterpart. It slows things down, giving you a chance to catch your breath and get lost in its mesmerizing melodies. One thing that Damo Cox yet again proves is his ability to create such different yet cohesive tracks.
We had the chance to speak with him about his music and this EP. Enjoy!
Can you share some insights into the inspiration behind the Wub Me EP?
I wrote both at a point when I was going through a tough time with my mental health. It was a bit of a roller coaster! There would be some dark days, and there would be some really good days. I wanted the EP to showcase the light and dark, so ‘Deep Wubs’ has those darker undertones and a deeper vibe, whereas ‘Get With Me’ is on the lighter side, especially with the bouncy bass line.
Around the time I was working on “Get With Me” I came across a video breaking down all the different samples Liam Howlett used in The Prodigy’s album “Jilted Generation” which gave me some ideas to experiment with when I was working on the vocals for the track. I was listening to a fair bit of Paul Karkbrenner which I feel was a bit of an inspiration behind the deeper vibes that came out in “Deep Wubs” and the The XX’s track “The Intro” was what I used to model the sound design for the synth plucks I used in the track.
How would you describe the overall vibe and sound of the tracks on the “Wub Me” EP?
I think the vibe of the EP reflects what I was going through at the time, with the light and dark, I guess you could say. “Get With Me” being the more club focused track, has a fun, bouncy vibe to it. Whereas “Deep Wubs” has that darker, deeper vibe to it.
Were there any specific goals or intentions you had in mind with this release?
I’ve been challenging myself to push my sound into different genres and really let the ideas and creativity flow when I’m producing. So this EP was really about showcasing some of the different sounds I have been creating.
How do you know when a release is ‘done’ and ready for exporting, are there signs you look for or certain feelings you get?
Whenever I talk to other producers, we all say the same thing, that it never really feels “done”! You can drive yourself mad by continually making tweaks and changing different elements in a track. Being an audio engineer as well, I think that makes it even worse at times because the standard has to be very high for me to be happy with it. Giving a track the dancefloor test is usually the best way to know if it is done or not, I think. ‘Get With Me’, for example, I actually hadn’t intended to ever release that track. But every time I drop it in a set, the people on the dance floor love it! So I guess that’s the ultimate way of knowing a track is ready.
What was your creative process like for this release? Was it smooth and quick or perhaps more challenging than expected?
“Deep Wubs” creatively came together pretty smoothly, and I actually held on to the track for a while thinking it wasn’t finished because I felt it needed a vocal to bring it all together, but in the end I ended up bringing the synth forward in the mix and making it the feature of the track.
“Get With Me” was definitely a long process that never seemed to end. I tried and tested it out so many times, and dancefloors love it, but for me, there was always something that felt off. Just before I played at the Initiation NYE 2022/23 Festival, I ended up reworking some of the percussive elements in the track and testing them out in my set at the festival, and when it dropped, the vibe from the crowd was off the chain! So it only took two years, but I was finally happy with the track haha.
Do you prefer being in the studio versus on stage, or you don’t have a preference?
These are two completely different modes for me. I can disappear into the studio for days, totally immersed in a creative headspace, barely making contact with humanity, but in a totally happy place. Being on stage is almost the polar opposite; it’s a shift in gears where it’s all about connection with people through music.
The energies are totally different, but you need that in life, right? Plus, being on stage gives you the opportunity to actually witness how those introverted hours in the studio affect people. It’s hands down the best way to know whether you’ve hit the mark with what you’ve created. Charting and stuff is nice, of course, but the ultimate kick is seeing people vibing with and responding positively to something you’ve created. That’s happiness right there!
What are some industry or cultural changes that stand out from when you started the Damo Cox project until now?
Since I started out, there have been so many changes in the industry. COVID was obviously something that flipped the industry completely on its head, which put a strain on festivals, clubs, and venues in the last few years, especially here in Australia. Despite the downsides, there’s been plenty of positives though. I think it has forced a lot of people to think differently about the way they put on their events and the different spaces in which they are held. Which is cool because I think there is an awesome underground scene building here in Australia that could put us on the map and make Australia a top-notch music destination over the next few years if it continues to grow at the rate that it is.
Another thing that has changed over the years I’ve been in the industry is the rate at which music is consumed and how quickly styles, sounds, and genres become the “current sound” one week and within a few weeks it’s moved on to something else. The industry has always cycled through different genres and sounds, but in the digital age of music and with how closely everyone is connected, it’s crazy how fast it moves now. In a way, it is sad because there is some really amazing music that is getting lost in the noise because of how fast paced it is, on the other hand it is introducing more and more people to different sounds in the electronic music realm.
Kanye West‘s has wiped his Twitter (X) account clean just days after being re-instated by Elon Musk.
It comes after he was previously banned from the platform three times, the last being on December 2 last year after the rapper tweeted an illustration of a swastika inside a Star of David.
The inflammatory post was one of many West – also known as Ye – tweeted at the time, culminating in Musk confirming that West’s account would be suspended due to violating the platform’s policies “against incitement to violence”.
The rapper previously faced significant backlash after making a series of antisemitic remarks, wearing a “White Lives Matter” T-shirt, and expressing false claims about the death of George Floyd.
Despite his account being re-instated to Twitter earlier this week, West will now not be eligible to monetise his account and advertisements will not appear next to his posts.
His account was reinstated after receiving reassurance that he would not use the platform to share antisemitic or otherwise harmful language.
The rapper has since wiped all his tweets from the account. It is unclear whether he is gearing up to something on Twitter (X) at this stage.
Meanwhile, earlier this week, Twitter users reacted to X’s new tagline and replacement for Tweets by Musk.
Logos of various social media apps including ‘X’ (formerly known as Twitter) are displayed on a phone screen in front of a screen displaying the former logo of ‘Twitter’ (CREDIT Aytug Can Sencar/Anadolu Agency via Getty Images)
The Twitter brand name, and the iconic blue bird logo that was in place for 17 years, is now being retired on the app as phones automatically update.
Tweets, meanwhile, will now be renamed to posts, and retweets will simply be reposts.
The reaction to X’s new tagline comes after video game companies and prominent individuals in the industry took aim at the company’s new name.
Earlier this week, Musk‘s rebrand of Twitter faced another stumbling block as the tech giant was halted while erecting the firm’s new logo on the roof of its headquarters.
According to reports, the firm was asked to pause the building of a new X logo on the roof of its San Francisco HQ on Friday (28 July).
Elsewhere, earlier this month Musk labelled Mark Zuckerburg a “cuck” over the launch of new rival platform Threads.
After it emerged that Twitter were threatening to sue Meta over the launch, Musk also wrote on Twitter: “I propose a literal dick measuring contest.”
Over the last few decades, the EDM scene has witnessed the rise of enigmatic artists like Marshmello, Zhu, and Daft Punk, who captivate audiences while shrouding their identities. Now, the mysterious figure known as Disco Face is stepping into the spotlight, and the buzz surrounding this anonymous producer and singer-songwriter is hard to ignore.
Debuting on TikTok in mid-2022, Disco Face quickly caught the attention of music lovers with his viral mashups, amassing over 500k followers in just four months. Known for his bright electronic dance music infused with dark, alternative influences, he stands out by using unique samples, often sourced from viral TikTokers who enthusiastically reshare his creations.
The intrigue doesn’t stop there—artists like David Kushner, CeeLo Green, and Angus & Julia Stone have taken notice of Disco Face through his captivating covers of their hit songs, each earning over 10 million views. To add to the mystique, he made a discreet appearance on Comedy Central’s TV show, “Tales From the Trip.”
Disco Face recently released “Daylight,” a stunning cover of David Kushner’s song, marking his first official label release under TH3RD BRAIN records—the team behind artists like Zhu and Emmit Fenn. In this track, he brilliantly intertwines a unique sample from Chrish, whose video garnered nearly 200 million views on TikTok.
As “Daylight” captivates listeners with its dance-worthy spin on David Kushner’s original, Disco Face leaves fans eager for more. The anticipation grows as they wonder about the person beneath the mask. Speculations abound, with some believing this could be a secret project by Bo Burnham, a testament to the enigmatic aura that Disco Face exudes.
With original works on the horizon, Disco Face’s journey is just beginning. As his musical narrative unfolds, we can’t help but wonder—what’s next for this mysterious sensation, and what other surprises will he unveil? One thing is for sure: Disco Face is an artist whose identity may remain in the shadows, but his music shines brightly for the world to embrace.
Transforming their chart-topping melodies into lucrative investments, The Chainsmokers’ Alex Pall and Drew Taggart are rewriting the script of their career.
Their latest encore is a foray into the high-stakes world of venture capital. Pall and Taggart in 2020 launched Mantis Venture Capital, a fund that invests in early-stage tech startups, with a $35 million infusion from a group of high-profile backers including Mark Cuban.
The firm has since built a robust portfolio and diversified it across healthcare, education, finance and, of course, music, among other industries.
“‘The Chainsmokers are a huge success. You’ve already made it as musicians! Why not leave it at that?’ Sigh,” Pall wrote in a recent LinkedIn post. “Thanks for the compliment? Yes, we could take the easy route, enjoy our success, and ride out the wave, but what’s the #1 thing they teach you about investing? Diversify your portfolio.”
Drew Taggart (L) and Alex Pall (R) of The Chainsmokers.
c/o Press
“Also, we are both full blown workaholics, drunk on the idea of having purpose…” he continues. “Investing offers us a way to capitalize and expand upon our success, not go in a new direction. We’ve never been the types to settle with status quo, not when we’ve got more to offer.”
According to Mantis, the fund has now invested in over 100 companies. Among their more ambitious plays are a $23 million stake in Austin-based fintech company Hearth and a significant contribution to the $55 million Series A round for 3LAU’s Royal.io, a platform where retail investors can purchase the right to earn royalties from music streams. You can read more about why he launched the innovative company in our recent interview feature.
“So, that’s why we’re doing this,” Pall concludes. “We’re carrying the principles of what made us successful as musicians into venture capitalism. Same strategy, different sport.”
Find out more about Mantis and the fund’s portfolio here.
Killer Mike has announced an intimate London live show – find all the details below.
READ MORE: Run the Jewels – ‘Run the Jewels 4’ review: a modern protest classic and their best work yet
The Run The Jewels rapper is due to take to the stage at the 600-capacity Lafayette venue in King’s Cross this Halloween (Tuesday, October 31). It’ll mark his first solo UK date in 11 years.
Mike, who is currently midway through a US headline tour, will be joined on the night by support acts The Midnight Revival choir and Trackstar The DJ.
This summer saw the artist release his sixth solo album ‘Michael’, which followed on from 2012’s ‘R.A.P. Music’. The record includes collaborations with Mike’s RTJ bandmate El-P, as well as the likes of André 3000, Future and Ty Dolla $ign.
Run The Jewels, meanwhile, dropped their latest full-length project ‘RTJ4’ back in 2020. It was crowned NME‘s album of the year that December, and hailed as “an instant rap classic”.
Next month, the duo will embark on a series of residencies in the US to celebrate the 10th anniversary of their self-titled debut album.
Killer Mike revealed last year that Run the Jewels had begun work on their next record. “I say this with a smile and a wink – me and El-P were in the studio together,” he said at the time.
“We may have messed around and started ‘Run The Jewels 5’. So we’ll see what happens.”
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