Celebrating the music of David Bowie


“It’s a really good mixture of songs that are lesser-known songs (and) more overt songs that everyone’s hoping for, like ‘Heroes’ and ‘Life On Mars’ and ‘Space Oddity,’” Belew, 72, said in a late-September phone interview. “There are things from ‘Ziggy (Stardust),’ there are things from ‘Young Americans,’ there are things from all facets of his career, the later career as well.

“It’s going to give you a great overview of the artist himself,” the singer/guitarist said. “I think if David saw this show, he’d be really happy.”

Belew is qualified to offer an opinion about how Bowie would view the tour, given the friendship that grew between the two, particularly on the “Sound + Vision” tour. Belew was offered the slot by Bowie on his 1978/79 tour on the recommendation of producer Brian Eno, who had witnessed Belew’s unconventional and singular guitar style at a Frank Zappa concert in Cologne, Germany, in 1977, when Belew was part of Zappa’s touring band.

Bowie’s offer created a dilemma.

“Well, I didn’t want to leave Frank. I really hoped to continue with Frank. But who can turn down David Bowie?” Belew said, noting that Zappa had told his band they’d soon have a four-month break from touring while he edited the film “Baby Snakes.” “David, when he approached me, said it would be a four-month tour. So I went to Frank after I found out it was a real offer, I remember I was in the back of the bus sitting there with him and I said ‘What do you think I should do?’ He said ‘I think you should go do the David Bowie show and then come back.’ We shook hands on that, but it didn’t work out that way. He started a new band and the Bowie tour went a year and a half long.”

Belew, who remained good friends with Zappa, went on to play on Bowie’s 1979 Eno-produced “Lodger” album. By then, Bowie was known for his shape-shifting music, moving from pop-rock early in his career to the glam sounds of “The Rise and Fall of Ziggy Stardust” and “Aladdin Sane” albums, into the soul-inflected “Young Americans” before incorporating ambient styles and Krautrock into his music on “Low,” “Heroes,” and, to a lesser extent, “Lodger.”

Having completed his time with Bowie, Belew soon started working with the Talking Heads, adding guitar to the groundbreaking African-influenced 1980 album “Remain In Light” and playing on the late-1980 and 1981 Talking Heads tours.

Belew’s next adventure was joining forces with Robert Fripp in what became a new edition of King Crimson. Belew was lead singer, guitarist and a main songwriting contributor in the various incarnations of that band from 1981 to 2009.

In between Crimson projects, Belew started what has become a prolific solo career that, with the release of his latest studio effort, “Elevator,” now numbers 25 albums. He also played in the excellent pop band the Bears and did numerous recording sessions (including on Paul Simon’s “Graceland,” Cyndi Lauper’s “True Colors” and a pair of Laurie Anderson albums).

Then, of course, came a second stint with Bowie, this time for the epic “Sound + Vision” tour. It was a whole different experience for Belew than on the “Isolar II” tour.

“In the ‘78 and ‘79 band, David, I think, was going through a troubled part of his life. I wouldn’t know too much about it, but there was a pretty good buffer around him. So it wasn’t easy to cuddle up and be friends,” Belew said. “On the 1990 tour, it was totally the opposite for me. I was the music director, so he had a lot of time spent with me to get the arrangements and get the music he wanted done. And then the tour went for so long, 27 countries, we had Lee Iacocca’s jet, and there were so many other things going on, that I had a very close time with David. That was a big reward of that tour for me was the fact that we had days to spend going to museums and doing things together, eating at restaurants. Getting to know each other as people was so wonderful. He was such an amazing person.”


CONCERT PREVIEW

Celebrating David Bowie with Adrian Belew, Todd Rundgren and more

8 p.m. Nov. 3. $40-$99.50. The Eastern at The Dairies Complex, 777 Memorial Drive SE, Atlanta. easternatl.com.





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15 best gifts for music lovers and musicians in 2022


Shopping for a music lover can be hard, especially if their tastes range from Beyoncé to Joni Mitchell to ACDC. If you have a music lover on your gifting list this holiday season, Select is here to help streamline the process with a list of great, year-round gifts including speakers, instruments and decór that should strike a chord.

Best gifts for music lovers

To help you find the best gifts for the music lover on your list this year, we revisited our previous expert guidance on headphones, speakers and other music-related gadgets that align with Select-reader interest. Additionally, we consulted our in-house shopping experts on staff — many of whom are music lovers themselves — for their favorite speakers and more. We also included some highly rated items we think Select readers (and their gift recipients) will love.

Favorite Song Lyrics Vinyl Print

If you know the song that means the most to your music lover, you can give them a print of those beloved lyrics in the shape of a vinyl record. You can further personalize the record by adding extra text like names and the date, making it a great gift for newlyweds or new parents celebrating their first holiday season together.

Helvetiq Music IQ Party Game

If your giftee is a music history nerd, this game might make a good gift. The card-based trivia game, meant for players ages 15 and older, requires two teams and can accommodate up to 12 players. The first round tests knowledge, while the second round tests memory from the first round and players can take risks in each round to earn more points. Helvetiq says the game has an average playtime of 45 minutes.

Pick-a-Palooza Make Your Own Guitar Pick Punch

This gadget allows the user to take any unwanted plastic — like expired credit cards or IDs — and punch it into a guitar pick, ready for plucking. A favorite from our guide to dad-approved gifts, this tool comes recommended by former Select editor Morgan Greenwald’s father, who has been using it for years.

Victrola Suitcase Record Player

Select writer Mili Godio, who owns the Crosley Cruiser Deluxe record player, gave this affordable suitcase-style Victrola record player to her younger sister as a starter record player. It has a three-speed belt built-in and can also stream audio through the built-in Bluetooth speakers. The record player has an auto-stop switch that stops spinning records once the record is finished playing, according to the brand.

GiftsCharm “You Are My Sunshine” Personalized Music Box

This hand-cranked style wooden music box plays “You Are My Sunshine” to your giftee. For no extra cost, you can include one of six engravings with sweet phrases like, “And suddenly all of the love songs are about you” or “You are always in my heart,” plus one personalized line at the bottom of it, like “Love, Gabriella.”

Loog Ukulele

This all-wood ukulele was designed for beginner players or budding musicians, according to Loog. The instrument comes with flashcards with ukulele chord diagrams or you can play along with the Loog Guitar app, which has a “Magic Mirror feature” that shows you how to form chords through augmented reality.

JBL Flip 5 Portable Speaker

The JBL Flip 5 is one of the best Bluetooth portable speakers, according to tech expert and former Select contributor Whitson Gordon. Gordon appreciated its “decently strong bass and clear midrange,” which produces crisp sounds for vocals and guitar. The Flip 5 can pair with other JBL products to create a multi-speaker setup, and is available in several colors like pink, forest green and more.

Rarton Custom Album Cover Light

If you know your loved one’s absolute favorite song, this LED light-up plaque, which sits in a wooden base, can remind them of their favorite tune at their desk. This album cover light displays their favorite song the way it would appear while listening to it on your phone via a streaming service, plus you can add a personal message and photo to create a sentimental and personalized gift.

Sony WH-1000XM4

Tech expert and Select contributor Terri Williams recommended the Sony WH-1000XM4 as the best overall over-ear headphones. The headphones have active noise cancellation, but also have an ambient sound mode, so you can hear some background songs. The headphones are Bluetooth compatible but come with a cable for wired listening, and according to the brand, the music intuitively pauses when you take the headphones off. They can also be paired with the Sony Headphones Connect App to control settings from your phone, and should last up to 30 hours on one charge.

The Holiday Candle Co. “All Too Well”-inspired Candle

If you’re a Swiftie like myself, this candle may be as big of a hit as “Shake it Off.” Inspired by pop star Taylor Swift’s “RED” album, the soy-blend candle has a strong cinnamon and earthy scent, and has a label on the front with some lyrics from the album. I received this specific candle as a gift and absolutely love it, but The Holiday Candle Co. also sells other candles inspired by other songs from Swift.

Crosley Record Cleaning Kit

If you’re not sure what to get the picky vinyl lover in your life, give them a record cleaning kit. This cleaning kit comes with a felt record cleaning brush and a record-cleaning solution (that is stored inside the brush’s wood handle). Crosley recommends placing the solution on the edge of the brush and applying it gently as the record spins on your turntable. The brand also recommends allowing the album to dry completely before playing the record.

Music Note Measuring Spoon Set

This musical-themed measuring spoon set, which hangs from a pewter bar that you can drill into the wall, comes with a ¼ teaspoon, ½ teaspoon, teaspoon and tablespoon. They are made from lead-free pewter, according to the brand, and are designed to look like eighth notes hanging from a musical staff.

‘1000 Record Covers’

This book presents a selection of rock album covers from the 60s to the 90s, curated by music archivist, disc jockey, journalist and former record-publicity executive Michael Ochs. The hardcover book, which comes with an introduction from Ochs, can make a neat addition to any library or coffee table.

LEGO Ideas Fender Stratocaster 213929 Set

This LEGO Ideas set, designed for adults, gives you all the bricks you need to build a 14-inch display model of a 1970s Fender Stratocaster guitar and a Fender 65 Princeton Reverb amplifier. It comes with enough bricks to build the guitar in red or black and includes a foldable display stand for the guitar.

Harley Benton Mini Loop Pedal

This loop pedal — designed for electric guitar and bass — has a 6.3 millimeter jack input and output and can record up to 10 minutes of audio, so that an artist of any skill level can record and loop audio as they play. It has a volume adjuster and comes with a three-year warranty.

Catch up on Select’s in-depth coverage of personal finance, tech and tools, wellness and more, and follow us on Facebook, Instagram and Twitter to stay up to date.





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[Music] Ambient Fields – Ólafsfjörður


A hearty thanks to Geoff Gersh (Ambient Fields) for sending me an album of such spacious, head-filling music that I managed to unwind for the first time in a week.  All the effects created in this work are done with a guitar, some effects and a pump organ.  Taking inspiration from being in Ólafsfjörður, a small town in the north of Iceland, his location seeped deeply into these compositions.  This was a treat to listen to.

Ambient, Bandcamp, Drone, Electronica, Experimental Music, Guitar Music, Instrumental, MP3s, Music, Music Downloads, Music Reviews, Music Technology, New Releases



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#ListenUp Being’s There is here from Apartment Records


Where has this record been my whole life? I have an immodest fetish for ’90s-era electronic psychedelia and Being is a kind of savant at it (“Being” is the artist’s moniker; There is the title of the album).

From Scotland, Being’s eight track record was “recorded to tape” from 1992 to 1995 and is first released in similar format on cassette by Apartment Records.

“Boxroom” is the music I imagined was played at raves before I went to one, made by musicians in abandoned power stations on gear you couldn’t even identify much less understand: a mainframe of colorful bleeps, structured loops and clairsentient hypnotic chants.

Other tracks like “Block” and “Extra Summer” evoke the meditative sound design of Paul Haslinger. But none of it sounds the same: there’s a unique character here, a musical fingerprint that is quite unlike anything else I’ve heard and which must belong to Being alone.

Being: There is out now, on limited cassette and digital download from Bandcamp.

#ListenUp: New sounds from the underground: new House Music tracks, Techno tracks, Deep House tracks and an eclectic mix of new releases from the electronic music underground. Updated daily, M-F.

Being: There (Apartment Records / August 2022 / Cassette + Digital) Track Listing
1. Being: Boxroom (09:03)
2. Being: Block (07:44)
3. Being: Sonsie (09:52)
4. Being: Extra Summer (06:08)
5. Being: Towels (08:54)
6. Being: Fzzzzz (08:22)
7. Being: Space Again 2 (18:41)
8. Being: Spots (08:23)

Disclosure Statement: This record was submitted as a promo.

 


 

 



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YouTube rolling out black dark theme, Ambient Mode, and more


After testing for the past few months, YouTube today officially announced several design updates, including Ambient Mode, to the video player across Android, iOS, the web, and smart TVs.

In response to user feedback, YouTube has updated its dark theme to be “even darker so the colors truly pop on your screen” on the web, mobile, and smart TVs. It’s currently gray and will soon be closer to YouTube Music’s black background.

When that theme is on, you can enable a “subtle effect so the app background color adapts to match the video.” YouTube’s Ambient Mode tints your phone’s status bar and the strip that contains the video’s title just below the player. “Dynamic color sampling” is leveraged with Google “inspired by the light that screens cast out in a darkened room and wanted to recreate the effect so viewers were drawn right into the content and the video takes an even greater focus on our watch page.”

Color was a key theme for us during the development phase. We wanted to add vibrancy to our apps without detracting from viewers’ habits, whether that’s enjoying their recommended videos or browsing for new content.

Ambient Mode is available on web and mobile when dark theme is enabled, while Google is also using that theming in playlists as part of a card that shows “more details about each playlist so viewers can easily jump right in.”

The video player is picking up features like pinch-to-zoom, which is rolling out starting today on Android and iOS, in landscape. Additionally, precise seeking on desktop and mobile will “drag or swipe up while seeking to display a row of thumbnails in the video player.”

Below the video player, YouTube has placed several buttons within compact pills: thumbs up/down, Share, Download, Save, and Subscribe. The latter will also have higher contrast, and the company thinks “easier to find and way more accessible” even if it’s no longer red. Additionally, “YouTube links in video descriptions will change to buttons.”

FTC: We use income earning auto affiliate links. More.


Check out 9to5Google on YouTube for more news:



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In Peckham with 454, the Looney Tune of 2020s hip-hop


Above the Rim is a now largely forgotten 1994 film about a talented college kid choosing between his school basketball team and one run by drug dealers. Though it’s cruelly underrated, especially with Tupac Shakur starring in full antagonist mode, a harsh reception from critics effectively sentenced it to life in the charity shop VHS box. But Above the Rim comes with one of the all-time great music-inspired-by-the-film albums: dripping wet R&B courtesy of SWV, Jewell and Al B; a Doggy full house (Nate, Snoop, and Tha Pound on the same track), and a late-career DJ Rogers singing “let’s do it doggie style”.

Among those transfixed by the soundtrack was a young Willie Wilson, now commonly known as 454. Wilson wasn’t born until two years after the film’s release, but around the age of five, he found the CD in his parents’ collection in between The Miseducation of Lauryn Hill and Mary J. Blige’s Share My World. His personal favourite on the CD was “Regulate” by Warren G and Nate Dogg. “That was one of the first songs that I was like damn, I really like this song,” he says. “I think it was the beat. Something about it.”

When we meet, Wilson is sitting on an outdoor table at the Prince of Peckham as the death throes of summer yawn over south London. It’s two days before news breaks that Queen Elizabeth II has passed away, and I’m telling him about the UK’s other national anthem. “Yeah I fuck with Giggs,” he says, confirming his familiarity with Peckham’s most cherished offspring, the closest thing to royalty that you’ll find in these parts. Giggs filmed the video for his immortal single “Talkin’ the Hardest” but a stone’s throw from here. “That’s insane,” says Wilson. “I did not know that.”

He talks in a voice that’s almost as distinctive as his rapping style. His signature is fast vocals, pitched up to an often indistinguishable chirrup. It’s most often accredited to inspiration from Madlib’s Quasimoto albums, but equally reminiscent of Florida’s fast rap scene, the chipmunk vocals of early 90s UK hardcore, and Frank Ocean’s chorus on the Calvin Harris single “Slide”. Although much of the clamour focuses on 454’s cartoonish voice, Wilson is also a gifted producer, a purveyor of fine beats both fast and ultra-slow, touched by influences as broad as cloud rap, jungle, DJ Screw and Curren$y.

After Above the Rim, he discovered Bone Thugs N Harmony. “My parents got me their greatest hits for Christmas when I was six and ah…” he shakes his head. “That CD just changed it all.” TV and video games brought more: through Tony Hawks Underground 2 he got into skateboarding; through Cartoon Network he discovered Looney Tunes and anime; and through Grand Theft Auto III he discovered “First Contact’” by Omni Trio, his first taste of jungle music. “I was like bro this is literally so crazy,” he says. “I love ambient music, so I feel like there’s an incorporation with ambient, and then like clean, fast-paced drums. I think like maybe six or seven years ago is when I really tried to get into making it my own, learning how to do it, diving more deeply into it and seeing Goldie, all the Metalheadz, everybody.” 

These ingredients alchemised as Wilson began publishing music to his friend Tommy’s Soundcloud in 2018, initially under the names Sqvxlls and Lil 454 – an alias chosen to honour his late father, who drove a 1973 Chevy Caprice with a 454 engine. Wilson started doing decent Soundcloud numbers in 2020, first with the single “Late Night”, then Fast Trax, a mixtape/DJ mix of all-original beats and squeaky clean raps. Slo-mo R&B, rapid bars, rave horns, love-soaked lyrics and a Project Pat sample coalesced into a gooey, heavenly syrup unlike anything else on the internet. Melody was everywhere: in the rubber basslines and Nintendo keyboard, and in the vocals, which invariably occupied the highest registers, perhaps altered due to insecurity, perhaps for more creative reasons. It’s like watching an anime battle scene in the sky: there’s no real reason for it to be up there, but there’s also no denying that it gives those punches an added celestial wow factor. 

In conversation, Wilson is every bit as affable and idiosyncratic as he is on record. He even speaks melodically, his utterances peppered with mannerisms like “damn”, “crazy” and “mmhmm” – products perhaps of a southern accent, a weed habit and a bashful charisma.

He grew up in Longwood, in suburban Orlando, Florida, not far from Disney World. When he was 11 his dad was shot. He survived, but the family was shaken up. “I think that was one of the first incidents where it was like ‘Oh shit, everything is not all good right now,’” Wilson says. “Things were a little weird, like very paranoid. We felt like we had to watch our back.” 

[My dad’s death] was one of the things that probably hit me the hardest… I guess you could say I’m struggling with it. But with the music, I try to kind of talk about it… The music definitely helps” – 454 

They moved house, but a year later his dad was shot again. This time he died. “That was one of the things that probably hit me the hardest,” he says. “Even today… I guess you could say I’m struggling with it. But with the music, I try to kind of talk about it, because I don’t really be open much about that. But the music definitely helps, mmhmm.” 

Wilson spent a year studying at home through virtual school, giving him time to help his mum raise Pig, his little sister. As they grew up, she looked the more likely rapper. She made music as Pig the Gemini, as heard on 454 tracks like the unbelievable “BOSSALINI”, on which the siblings’ voices alternate and oscillate ridiculously until they’re indistinguishable and irresistible. At the time, though, Willie was more into skating, eventually filming parts for magazines like Transworld. When he reached adolescence he moved to New York with friends he’d met at skate parks. 

It was there he met his girlfriend Mandy. “My girlfriend brought me out of my shell a lot,” he says. Mandy travels with him on his tour, part of a tight team that also includes Tommy Bohn, a skate friend, videographer and the artist behind the Fast Trax cover and its two sequels. The tour opens on the night we meet at Peckham Audio, before shows in New York, Chicago and LA. Apart from a brief trip to Canada while supporting Aminé earlier this year, this is Wilson’s first time leaving the States.

American rappers often struggle to get weed in the UK, but Wilson is already rolling one as I sit down. “Our Airbnb host hooked us up,” he says, an explanation fitting of someone for whom everything seems to come naturally. Though he’s undeniably shy, he’s also magnetically likeable and unwaveringly positive. His lyrics tell of trauma, seeing demons in dreams, losing friends and even vague suggestions of beef, but there’s no detectable anger. “Yeah, so that’s my thing,” he says. “Even with the beat. Before I started putting out music, I wanted to shed a light on some things I went through growing up, but also make sure it’s like… in a positive light. Because I feel like it’s just so much negative, within the industry, everywhere else…” 

Shortly after “Late Night” dropped, a mutual friend passed Wilson’s details onto Frank Ocean. Wilson was a big fan (“I love ‘Nights’ though. When I heard ‘Nights’, as everyone did, the flows on there was just like damn, you don’t hear people flow like that”). They spoke briefly, Ocean offering his thoughts on Wilson’s early releases. Then the connection went dead for about a year, during which time Wilson kept releasing music, including his debut album 4 REAL, featuring “Late Night” and other fan favourites like “Andretti”, “FaceTime” and the incredible “Heaven”, a descriptively titled paean to loved up bliss, the second half of which is about as close as music can get to real ecstasy, a wordless coo section reminiscent of both Kanye West’s “Runaway” and Frank Sinatra singing doo-be-doo on “Strangers in the Night”.

Around the same time, Ocean resurfaced, inviting Wilson to a shoot. “So surreal,” Wilson says. “[He‘s a] very nice person, showed me nothing but love.” Nothing was said about 4 REAL, but “next thing I know someone from his team hit me up like ‘Yo, can we put the project up on the [Homer] website?’ I was like ‘Man, that’s so crazy. Hell yeah.’ I trip about it every time.” 454 became an underground star. 

I’m compelled to ask what the word “cool” means to him. “Cool is just anything that’s original man, anything that’s in its own lane, genuine. That’s really it,” he says. “I’m not really, or I wasn’t really like a social person. I always liked my alone time. I didn’t really go out and do much. So recently I just realised I was really on my individual. And I still am, on occasion.”

If you hadn’t heard of 454 before the Frank Ocean Homer launch, you may have through experimental musician Huerco S – formerly the poster child of a 2010s ambient renaissance, now a chameleonic producer who works with rappers. He’s one of a growing cognoscenti — also including Zack Fox, Danny Brown, Denzel Curry and Redditers on the hyperpop sub — who have taken a shine to the 454 sound.

There’s also the sold-out crowd at tonight’s show: kids with baggy jeans, dyed hair, vapes and tattoos. The west London rapper Lord Apex is both in the crowd and on a billboard outside the venue. 454 plays stuff from 4 REAL, Fast Trax 2 and the recently released Fast Trax 3, including a divine track called “LILO & STITCH” built around a sample of SZA oo-ing in her bedroom. The crowd goes wild and Wilson hangs around outside for at least an hour afterwards, posing for photos with fans and telling each one of them they mean the world to him. 

On Twitter the next day, a clip arrives of Wilson executing a perfect 180 heelflip at the hallowed skate park on the south bank of the Thames. Two days after that, Wilson DJs at a semi-secret party in Stoke Newington, playing everything from footwork to Playboi Carti to unreleased 454 tracks. The event flyer lists him as Gatorface, the latest in a growing alias list belying an instinctive publicity shyness. He covets anonymity: rare public appearances, low social media profile, intimate shows. “I hope we can go on forever,” he says. “I just don’t know like, I don’t know what big is. So I’m just… cooling it.” 

Does he want to be big? “I don’t know man. I don’t think so. I really don’t think so. I just wanted to produce, because I really like making music… and rapping and shit, using my voice was just, something happened.” Like Frank Ocean, he ducks the limelight. “The way he does it is amazing,” Wilson says. “You gotta dig to find stuff. Not really much information. Don’t drop that often. If somehow it was like too much going on, I would definitely be cooling it. I haven’t seen a fan page yet. I feel like when it’s at that point, it’s like oh, something else is happening. Mmhmm.”





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[Music] Sshe Retina Stimulants – Play Cronaca Nera


This release by Sshe Retina Stimulants is one of the most claustrophobic works I’ve heard in some time.  This is noise, but done with a way that makes the experience almost magical.  I had the feeling of falling down an endless rabbit hole a la Alice in Wonderland.  It’s a harrowing release, and one of the most worthy noise releases I’ve heard in some time.

Avant-Garde, Bandcamp, Black Ambient, Drone, Experimental Music, Instrumental, MP3s, Music, Music Downloads, Music Reviews, Music Technology, New Releases, Noise



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Strega Musica is a free 13 track album made using Make Noise’s own Strega instrument


What if the demo for your new hardware was an actual, listenable album rather than a YouTube video?

Asheville modular synth maker Make Noise made this very hands-on promo with their new instrument, Strega, a patchable “desktop instrument” designed in collaboration with Alessandro Cortini. The 13 track album, Strega Musica, features a dozen musicians and producers, including some of the most interesting electronic music composers of the moment.

Abul Mogard carves out Tarkovskian landscapes on “Like Water.” Caterina Barbieri’s “Verge of Extinction” is ethereal given shape in sound. Daniel Avery and Manni Dee make something much more swagger on “Meanwhile the Night Gets Darker” — music anticipating Wong Kar-Wai’s return to gangster films.

The Strega costs $599 but this compilation is actually free, available for the price of nothing on Bandcamp.

#ListenUp: New sounds from the underground: new House Music tracks, Techno tracks, Deep House tracks and an eclectic mix of new releases from the electronic music underground. Updated daily, M-F.

V/A: Strega Musica (Make Noise / Digital)
1. Abul Mogard – Like Water (09:55)
2. Alessandro Cortini – ERA (16:16)
3. Ben Frost – Periphera (06:49)
4. Caterina Barbieri – Verge of Extinction (04:36)
5. Daniel Avery & Manni Dee – Meanwhile the Night Gets Darker (03:55)
6. Hiro Kone – Long Exposure (06:14)
7. Daniel Miller – Hexe (05:31)
8. Tony Rolando – Trace Amounts of 6 Seconds Ago (03:55)
9. Robert Aiki Aubrey Lowe – All of Them (07:59)
10. Julianna Barwick – Fly (09:05)
11. Kali Malone – Fast Goodbye (05:57)
12. Marta Salogni – Tremate, Tremate (08:50)
13. Alessandro Cortini & Tony Rolando – Stregata (05:59)

Disclosure Statement: This record was submitted as a promo.

 


 




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YouTube gets a new look across platforms: Darker “dark theme”, tweaks in ambient mode and more


YouTube has been working on refreshing the user interface (UI) for quite some time and now the company is releasing a fresher design which, it says, will give “an updated look and feel for YouTube.” These new features include a darker “Dark Theme“, a subtle effect in the ambient mode, tweaks in watch page and pinch to zoom, among others.
When will you get refreshed YouTube UI
YouTube says that it is rolling out “a new look and several features that offer a more modern and immersive viewing experience while also improving how users watch videos.” Since, these changes will gradually roll out to all users, you can expect the full rollout to complete over the next few weeks. Google also wants you to give feedback on the new design.
“Feedback from our creators and viewers has always played an integral role at YouTube as our teams continue to think of ways to improve for our users; today’s updates were no exception. We gathered input from thousands of viewers around the world and heard there was a desire for a cleaner, more lively design that better represents what we’re all about,” the company said in a statement.
Refreshed Ambient Mode
YouTube says that it used dynamic colour sampling to introduce a subtle effect so the app background colour adapts to match the video. The design is inspired “by the light that screens cast out in a darkened room” and YouTube wanted to recreate that effect in order to draw users’ focus into the content.
The ambient mode with subtle effect on YouTube will be available for users on the web and mobile in the dark theme.
Darker Dark Theme
Now that we are talking about the dark theme, YouTube is rolling out a tweak in the dark theme that makes it even darker. This is apparently done so that the colours “truly pop on your screen” and the grey elements on the watch page are now all back. It means that the darker dark theme will be seen not only around the video player but also video playlists and will show more details about each playlist.
This feature will roll out for users on web, mobile and Smart TVs.
Changes in watch page
YouTube says that it is bringing improvements in the watch page interface so that the users’ focus is on the video player. The first change is regarding video links. YouTube links in video descriptions will change to buttons and frequent actions, including like, share and download, will be formatted to minimise distraction. The subscribe button is also getting a new shape, high contrast and “it is no longer red.”

Pinch to Zoom and precise seeking
YouTube is now getting pinch to zoom along with precise seeking and it will be rolled out to all users. The feature was also available for some users as a part of experimental features.
An experimental feature in YouTube is a feature that is rolled out to a small group of premium subscribers to test. YouTube then measures how its users react to it and on the basis of the feedback, improvements are done to the feature. The pinch to zoom feature will be available on iOS and Android.
“Have you ever followed along to a tutorial on your phone, but needed to keep rewinding so you could master that one small step? Precise seeking helps solve this problem,” YouTube says about the new precise seeking feature. So whether you’re working on a desktop or a smartphone, you can now simply drag or swipe up while seeking to display a row of thumbnails in the video player. This will enable you to make fine-tuned adjustments to get to the exact part in each video.
YouTube says that the precise seeking feature builds on the already available video navigation tools that help users quickly find the parts that they are most interested in.





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Chad Lawson trailblazes a new paradigm for classical music


On Friday, Stanford Live welcomed pianist and composer Chad Lawson to the Bay Area. Alongside Lawson were cellist Seth Parker Woods and violinist Judy King. The serene ambiance of Bing Studio, dimly lit by hues of magenta and blue, coupled with Lawson’s intimate yet inclusive commentary, created an atmosphere of trust that made for a raw and touching performance.

Lawson has become known as the contemporary artist creating “classical music for the Spotify generation.” Today’s youth have been less exposed to classical music compared to past generations, and Lawson is one of several artists striving to foster a deeper understanding and appreciation of the genre by making it as approachable as possible.

His performance on Friday was reflective of this role, as he frequently separated his pieces with dialogue that dissected the musical and emotional undertones of each one. In his own rendition of a piece by Chopin, a composer that even a person with little exposure to classical music would recognize, he slowly scaled the six most memorable pitches from the melody down to two notes, creating a minimal yet recognizable tune.

Between pieces, the room filled with laughter and warmth as Lawson conversed with his audience about his musical background and the evening’s repertoire. Yet the instant he began to play, the pulsating rhythm of his signature gentle sound enveloped the studio in a blanket of calm. Just as he warmed audience members up to each piece with witty banter, Lawson subtly introduced layers of sound into the acoustics of the studio like drops of water rushing into a waterfall.

Lawson is a streaming star on Spotify whose 1 million monthly listener count trumps that of famous concert musicians like violin virtuoso Hilary Hahn and pianist Yuja Wang. His concert primarily featured pieces from his newest album, “breathe,” which is meant to be an invitation for us all to “exhale.” This sentiment extends to not only the past two years of the pandemic, but also any struggles from our past.

Throughout his career, Lawson has exhibited his talent as a composer to twist and stretch popular classical melodies or pop songs; his cover of “when the party’s over” by Billie Eilish has been streamed over 13 million times on Spotify. His interpretation of hardship, and how he entwines it into his music, has proved to be just as versatile. His message was that hardship can take many forms; moreover, his observation that it took us all an entire pandemic to “let go” and question all that we choose to carry every day was both relevant and validating.

Past these reckonings, Lawson ended his performance by inviting us all to stop and ask ourselves if we want to leave the pandemic with everything we took into it.

His final two pieces of the night, “Irreplaceable” and “To Hold the Stars in the Palm of your Hand,” used charming major chords to recognize the “people, places and experiences that we only were able to acknowledge and cherish” after the world was put on pause.

Through the selection of new pieces from his latest album, Lawson foreshadowed continued breakthroughs in a new field of classical music. Youth today with low exposure to the genre no longer have to settle for generic, empty playlists to act as background noise for them while they do their homework. With transparent communication about its stories and all their complexities, classical music does not have to be overshadowed by other genres like pop and hip-hop. Instead, as portrayed through Friday’s performance, this field can become the new face of contemporary music, where we can all ask ourselves the difficult questions about life and love that words can’t articulate.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.



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