Block Congress Twitter Account for Unauthorised Use of KGF 2 Music in Bharat Jodo Yatra: Court

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Block Congress Twitter Account for Unauthorised Use of KGF 2 Music in Bharat Jodo Yatra: Court

A Bangalore court on Monday directed Twitter Inc to temporarily block accounts of Congress party days after the police registered a copyright infringement case against senior party leaders Rahul Gandhi, Supriya Shrinate and Jairam Ramesh for alleged unauthorised usage of the music from the Kannada film ‘KGF-2’ in its ‘Bharat Jodo Yatra’ promotion videos.

The court ruled that prima facie materials established that the plaintiff, MRT music, would suffer losses and will encourage piracy at large. “Plaintiff has specifically produced CD showing the side by side file i.e., original version of his copyrighted work with that of the illegally synchronized version. These prima facie materials available before this court at this stage establishes that if same is encouraged plaintiff who is in the business of acquiring cinematography films, songs, music albums etc., will be put to irreparable injury and further same leads to encouraging the piracy at large,” the Court was quoted as saying according to an official statement by the record label.

The Court restrained Congress twitter handles ‘@INCIndia’ and ‘@BharatJodo’ from using the music till the next date of hearing. It also directed Twitter to take down three links from its platform and further ordered it to block the accounts of Indian National Congress (INC) and Bharat Jodo Yatra.

The court appointed District System Administrator of Computer Section S N Venkateshmurthy as a local commissioner and ordered him to visit the company’s accounts, conduct an electronic audit and preserve the evidence on Twitter, Instagram, Facebook, and Youtube.

Meanwhile, Congress said it was not made aware of the case and was not present at the court proceedings. “We have read on social media about an adverse order from a Bengaluru court against INC & BJY SM handles. We were neither made aware of nor present at court proceedings. No copy of the order has been received. We are pursuing all the legal remedies at our disposal,” the Congress said in a tweet.

The Bangalore police on Friday registered a case in the Yashwanthpur police station under the provisions of Copyright Act, the Information Technology Act and the Indian Penal Code. It alleged Jairam Ramesh had on his official Twitter handle posted two videos of the yatra, in which popular songs from KGF-2 film were used without permission.

Congress is accused of creating a video by unlawfully downloading, synchronising and broadcasting the songs pertaining to the movie KGF – Chapter 2 in Hindi. The party allegedly used the music “portraying it to be owned by the INC” with a logo of “Bharat Jodo Yatra” and shared the same on their official social media handles. Lawyer Narasimhan Sampath, representing MRT Music alleges the unlawful actions by Congress reflect their “blatant disregard to the rule of law and the rights of private individuals and entities” despite the party’s campaign seeking an “opportunity to govern the county and frame legislations for protecting the rights of the common man and businesses.”

MRT Music has filed the present complaint only to enforce its statutory rights and has no intentions to tarnish the image of any political party, Sampath had said.

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What Can Save the UK Music Industry? – Independent Music – New Music

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With issues continuing to amass in the music industry, more people are starting to despairingly speculate on what can save it. Earlier this year some people banked on the ham-fisted benevolence of Elon Musk saving the day, while others pinned their hopes on opportunities opened up by the metaverse and music NFTs.

Realistically, there is never going to be a catch-all solution that gently cradles all musicians from the cut-throat nature of the industry and uplifts it from the increasing economic strains. Nor will there be a return to how things used to be – no matter how longingly we long for it. Instead, the individual issues within the music industry need to be addressed before there can be a discussion of how it can bolster some resilience in an era where even the most robust markets are feeling the increased pressure of the cost-of-living crisis.

The Lack of Government Support

In 2022, the UK music industry is now one-third smaller than in 2019 due to the hat-trick devastation caused by inflation, Brexit, and the pandemic. The calls for government support are getting louder and louder in an attempt to quash the blow of the rising costs of touring and keeping the lights on in venues.

Manchester’s Dave Haslam was one of the many voices calling for support in a recently published article in the Guardian, which followed the trajectory of the decline of the music industry through the years and called for government intervention. The government support would ideally involve a freeze on alcohol duty, reductions in VAT, and relief on business rates, to prevent the closure of even more clubs and venues across the UK. Removing the red tape imposed by Brexit to help touring musicians is also a prominent request in calls for governmental intervention.

Keeping the pressure on politicians, especially the newly appointed Culture Secretary, Michelle Donelan, by reminding them of the value of the multi-billion-pound industry, which employs hundreds of thousands of people, is more important than ever. With Rishi Sunak at the top, it’s easy to give into apathy, given his recent declaration that “the state can’t fix all your problems”. If you care about the future of the music industry, fight for it, don’t just hope that someone will do it on your behalf!

The Economic and Ecological Cost of Touring

National and international tours are how many artists attempt to make their music careers economically viable now that streaming services such as Spotify are reigning over CD and vinyl sales. But with the increasing awareness of the carbon footprint of touring confounding the economic unviability due to the inflated prices of fuel and just about everything else, how long can the massive shows go on?

In an ideal world, we wouldn’t have to contemplate the ecological impact of artists heading out on tour and living their dreams of finding themselves in a new city every night and playing to a sell-out crowd. Unfortunately, the planet is hotting up; the music industry can’t put their heads in the scorched sand any longer and pretend it is not contributing to the massive existential problem.

A study published in 2010 reported that the live music industry annually generated 405,000 metric tonnes of emissions in the UK alone. That is enough energy to power 46,000 homes. While there is no shortage of greenwashing festivals with their token efforts, such as banning plastic cups, it isn’t going to cut the mustard if we are going to achieve net zero by 2050.

Whether you like it or not, the reality of touring is being reshaped by climate change. But that doesn’t mean that live music needs to be wiped from existence. It does mean that we need to consider the ramifications of the environmental impacts and start to place more value on smaller-scale local and regional performances. If communal music traditions met artistic needs for millennia, why should they be discarded now? Local and grassroots music is the overlooked, slightly less glamorous backbone of the music industry. If neglected for long enough, everything else will crumble.

Unfair Royalty Cuts from Streaming Platforms

There are a lot of popular misconceptions around streaming platform royalties, namely that services such as Spotify pay their pitiful revenues to the artists directly. Before royalties reach artists’ and songwriters’ bank accounts, they go through distro companies, record labels and copyright management companies, who take a sizeable chunk for themselves.

Spotify takes a 25% cut of the revenue, the recording owners take 59.9%, and the songwriters and publishers share a 15.1% cut. While it is easy to paint Spotify as the devil incarnate, the real issue is the complexity of copyright law which commodifies music and exploits artists in the process. For the same reason it took The Rolling Stones until the 70s to make any real cash, the struggle is the same for any contemporary artist signed to a record label that was drafted to bleed them dry.

The decline of the major record labels as artists are seeing the light and opting for an independent music career is a step in the right direction but it is easier said than done for independent artists to succeed. Frank Ocean and Chance the Rapper proved it is possible to be successful and independent, but that doesn’t mean it is viable for all artists. Especially given that thousands of new tracks launch on Spotify every day, and almost 80% of artists on Spotify have a monthly listener count that is less than 50.

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So, to answer the question of how can the music industry can be saved in short, the answer is recognising that the current framework of the industry needs a drastic overhaul. From tearing up the copyright laws which exploit artists instead of protecting them to recognising why the live music industry is really up against the wall to accepting the over-saturated unsustainability of the industry. Something has to give before the music industry goes further than a 1/3rd slump in market value.

 

Article by Amelia Vandergast





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Sydney piano competition winner Alexander Gadjiev wows Government House Ballroom for Music on the Terrace

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Alexander Gadjiev showed why he won 2021 Sydney International Piano Competition when he played fantasies on the Government House Fazioli grand piano on Sunday.

His technique was beyond reproach and his expression powerful and varied as he demonstrated how he took multiple categories of last year’s delayed, online contest, including programming skills and audience communication.

A dark rumbling in bass established a strangely familiar progression in the world premiere of Colin Spiers’ Eine Kleine Nachtmusik, a febrile left-hand motif leaping to the upper register.

An elaborate soundscape used the full range of pitch, tone and dynamics in a smorgasbord of piano mastery, settling at the last to somnolence in the first movement, Hallway.

For the second stanza, Duality, a bright attack in crushed chords led in fragmented melody as if switching from darkened interior to outdoor light; virtuosic bounds, runs and glissando creating a multifaceted ambience, glittering in sharp relief.

Jagged figures wrung the maximum impact from the Fazioli without overloading the room; dismounting in conclusion with gymnastic agility.

Camera IconAlexander Gadjiev introduces the program at Government House Ballroom for Music on the Terrace. Credit: Nik Babic @ Artshoot Media

Two late Chopin works followed, deepening the context of the Spiers.

A simple descending movement into the Prelude in C-sharp minor Op. 45 summoned denser resonance with almost pastoral highlights, warming in ebbs and flows, exploratory and reflective; restive and restless qualities resolving at the last to a slow fade.

Polonaise fantasie in A-flat major Op. 61 opened dramatically, the Polish master reflecting his avant-garde Parisian ambience yet still clinging to the nationalist spirit that marked him as revolutionary.

Again, Gadjiev left nothing to doubt, coaxing every ounce of expression out of the work in a live-wire rendition with a relaxed intensity and laser-like focus.

In the more Romantic episodes he caressed the keys, swelling the theme with fluid phrasing to smooth the percussive effect of the instrument, blending its parts into one voice; all coming together in a reprise of the Polonaise theme, joyously grandiose in the cadence.

After the interval, Schumann’s Fantasie Op.17 sounded one plangent note then a flurry in bass to support a haunting melody, rising in intensity then subsiding to a sigh; the scurrying left hand relenting in a lilting pattern and fading to simple reflection.

Camera IconAlexander Gadjiev plays at Government House Ballroom for Music on the Terrace. Credit: Nik Babic @ Artshoot Media

A quirky quotation from Beethoven teased expectation then reignited with full Romantic elan; feverish mood swings a hallmark of Schumann, soave and grandiloquent in conclusion.

Pealing bells introduced a march for the second stanza, as frankly joyful as the opening was complex and compelling; channelling the bells once more for an anthemic celebration, breaking to a thrilling cadenza then a romp and flourish to finish.

It seemed unlikely Gadjiev could top that, but the spirit of Beethoven crept in again with grace and feeling for the finale.

A duet of left and right hand — bass and soprano, Robert and Clara Schumann — evoked the passionate couple with operatic fervour; cooling to elegiac calm then returning to heriocs, mix and repeat, before waning like a sunset in the cadence.

In encore, Gadjiev first calmed the farm with Chopin’s E-minor Prelude, then left a blistering memory of the afternoon’s high drama in the D-minor Prelude: a glow to counter clouds on the western horizon.

Music on the Terrace concludes 2022 with Jazz on the Lawn, with the WA Jazz Project on Sunday, December 4, 4pm in Government House Gardens.



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Classical Music Responds to the Times

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This month, as we exercise the voting rights inherent to democracy, music can be a safe haven from the rough and tumble of election rhetoric. But some composers have engaged with the important issues and circumstances of their times to write great music. Here are some works I’ve found to be especially powerful.

Dame Ethel Smyth’s “March of the Women” was written as an anthem for the suffragettes. Changing society is a slow process, and the idea that women could ever be trusted with the vote was alarming, if not outright preposterous. Smyth’s piece was described by a suffragette’s newspaper as both a “hymn and a call to battle.”

Dame Smyth was sentenced to two months in jail for breaking a window. The most memorable performance of her anthem has to be the one she herself conducted of her fellow inmates while leaning out of her cell window, waving her toothbrush.

The Russian occupation of Finland during the late 1800s did not go over well with Finland’s people who were at great military disadvantage to fight against it. But there are many ways to call people to unite, including through music. Finland’s great musical son, Jean Sibelius, wrote a suite of seven pieces as part of a concert that showed important moments in Finland’s history.

Any anti-Russian suggestion would have been met with swift and strong censorship, so the seventh and final tone poem in the suite, which we know today as “Finlandia,” had to be called by a different, more acceptable name. “Happy Feelings at the Awakening of Finnish Spring,” and “A Scandinavian Choral March” were two of the names it was performed under. Hear how Sibelius sets the dark mood right at the start to represent the oppression under which his people were living. While many have cited the calmer hymn towards the end as a traditional folk tune, it was actually a creation of Sibelius’ in his attempt to give hope to his fellow Finns.

“Finlandia” today is considered by many Finns to be the unofficial national anthem of Finland.

The German composer Beethoven was inspired by the stories coming out of France of the people’s uprisings against their monarchy, and their rallying cry, “Liberty, Equality, Fraternity.” He was so impressed by their leader, Napoleon Bonaparte, that he dedicated his Symphony No. 3 to Bonaparte as he wrote it in 1803-04. That is, until Beethoven’s secretary broke the news that Bonaparte had proclaimed himself Emperor of France.

Beethoven was described as flying into a rage when he heard that, and scratched out the dedication with such force that he put a hole in the page, exclaiming, “Is he too, then, nothing more than an ordinary human being? Now he, too, will trample on the rights of man, and indulge only his own ambition; now he will think himself superior to all men, become a tyrant!” The title was changed to the “Sinfonia Eroica,” or Heroic Symphony.

Here’s the whole glorious piece, with Claudio Abbado conducting the Lucerne Festival Orchestra.

Chopin wrote 18 Polonaises in all, but the one considered most famous today is his Op. 40, No. 1. Chopin didn’t care much for nicknames for his pieces, but his publisher couldn’t resist calling this one the “Military,” when it was published in 1840. Musicologists have made a connection between the two Opus 40 Polonaises and Chopin’s restlessness about his native Poland’s long history of being oppressed by other invading countries. The 19th century pianist Anton Rubinstein described the “Military” as Chopin’s depiction of “Poland’s greatness” as a nod to his homeland. Here’s Maurizio Pollini.

This 19th century piece played an important psychological role for the Polish people a century later. At the outset of the German invasion of Poland in September 1939, Polskie Radio, the national radio service in Poland, broadcast this piece every day. It was understood as being both a nationalistic protest and as a morale boost to rally the Polish people.

Shortly after France entered World War II, 31-year-old composer Olivier Messiaen was captured and sent to a prisoner-of-war camp in Germany. Three other professional musicians were among his fellow prisoners, and Messiaen wrote music for them, using a borrowed pencil and paper from a sympathetic music-loving guard. That trio became the “Intermede” for his Quartet for the End of Time. It was premiered at the prison camp in front of 400 prisoners and guards. Can you imagine the bravery of Messiaen to have a piece performed at this Nazi camp with this title?

He wrote that the description of the end of time found in the Bible’s Book of Revelation was the inspiration for the piece: “…and the Angel, which I saw stand upon the sea and upon the earth lifted up his hand to heaven. And swore by him that liveth for ever and ever…that there should be time no longer.”

Here is an all-star lineup of musicians: Pianist Inon Barnatan, clarinetist Anthony McGill, cellist Carter Brey and violinist Alan Gilbert.

In describing that prison camp premiere, Messiaen said “Never was I listened to with such rapt attention and comprehension.”

CODA: In 1969, Creedence Clearwater Revival hit the charts with “Fortunate Son.” It was not only a protest of the Vietnam War, it was also a condemnation of America’s “the haves and have nots society.” Not classical music, but definitely a late 20th century offspring. This new video by CCR includes the lyrics.





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Trailer For Michael Shannon and Jessica Chastain’s Country Music Series GEORGE & TAMMY — GeekTyrant

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Showtime has released the first trailer for Jessica Chastain and Michael Shannon’s upcoming country music series George & Tammy. The project was created by Abe Sylvia (The Eyes of Tammy Faye, Nurse Jackie) and directed by John Hillcoat (The Road). The story will focus on the tempestuous marriage of C&W music couple George Jones and Tammy Wynette.

The series is based on the book The Three of Us: Growing Up with Tammy and George, which was written by the couple’s daughter, Georgette Jones.

The story “chronicles the country music power couple, Tammy Wynette and George Jones, whose complicated-but-enduring relationship inspired some of the most iconic music of all time. Remembered as the ‘First Lady of Country Music,’ Wynette’s most successful song ‘Stand by Your Man’ remains one of the most iconic and best-selling country singles by a female artist. Known for his once-in-a-lifetime voice, George Jones’ song ‘He Stopped Loving Her Today,’ is still widely called the greatest country song of all time. With over 30 number-one country songs between them, including duets ‘We’re Gonna Hold On,’ ‘Golden Ring’ and ‘Near You,’ George and Tammy’s legacy, both musically and romantically, remains one of the greatest love stories ever told.”

It was previously explained that Shannon and Chastain will do their own singing in the series. Steve Zahn also stars as George Richey, “a songwriter, producer and mainstay of the Nashville country music community who married Wynette after she and Jones split up in 1975.”

The premiere episode of George & Tammy will debut simultaneously on Showtime and on the Paramount Network behind Yellowstone on Sunday, December 4th.



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Beth Orton releases ‘Weather Alive’ album

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Beth Orton’s “Weather Alive” is an album bustling with firsts.

Orton has been a working musician for nearly 30 years. In that time she has distinguished herself as a ruminative folk artist whose “two-finger ditties” (her phrase) are soulfully strummed, but “Weather Alive” is Orton’s first album to make copious use of the piano. It is also her first album to be released in conjunction with Partisan Records. It is her first album, really, to take life on life’s terms.

Humanity’s rougher edges typically hover in the foreground of an Orton composition. With “Weather Alive,” Orton has done something out of character: she’s made a record that is self-content, self-affirming and hopeful. The title track in particular is a glowy dreamscape, a paean to simple and in this case bodily pleasures. Orton nails the physical sensations of drinking in gorgeous scenery.

“Some people write songs to people or about people,” Orton says. “With this record, I wrote to something much more intangible. It was a sensory record. I would write to that light — I would write to that feeling when the light burst through the trees.”

Though Orton, in concert later this week at the Irish American Heritage Center, is rightly admired as a poetess of British folk-rock, her closest analog might be a poetess of Francophone cinema: Claire Denis. “Weather Alive” has a good deal in common with Denis’ film “Friday Night,” in which two Parisians — strangers — converge for an unplanned tryst never to be repeated again. Both the film and the album are examples of delicate, perfectly appointed minimalism. Both revel in a kind of hushed intimacy. By coincidence, Orton studied drama and has worked as an actress (most recently in the festival fave “Light Years”).

Orton’s approach is not wily or gamesmanlike: “I’ve never contrived a plan,” she says. “Like, ‘Oh, this is what my next move will be! How clever!’ I’ve never thought it through in that respect.” Still, the singer’s willingness to confound preconceptions has always been apparent; it proved especially eventful in the last album cycle. There was much furor over “Kidsticks,” Orton’s 2016 record, an experiment in syncopated pop music that left some listeners feeling bushwhacked. Orton describes Kidsticks as “very off-the-cuff.”

This time it’s different. “Weather Alive” plays out much as you’d expect from the inaugural single, which incidentally is titled “Friday Night.” Orton calls the album “really meditative … I was really engaging with this idea of peace.” Her vocals are craggy but comforting, her arrangements cavernous (especially the horn and woodwind fanfare that dominates “Haunted Satellite”) but sublimely mellow.

“Weather Alive” was a happy accident. It may not have materialized but for a fateful stroll in Camden, the eternally bohemian North London neighborhood. Orton was stopped in her tracks by an upright piano, a rinky-dink hand-me-down that even the shopkeeper cautioned against buying.

“He had this one piano at the back of the room — it just had the most beautiful warmth and a really lovely resonance,” Orton says. “I was like, ‘How about this one?’ And he says, ‘Oh, no, you don’t want that! That’s my grandmum’s piano.’” Orton persisted and, well, the rest is history.

Back then Orton was living with Camden friends and trying to make sense of the carnage around her, which seemed to multiply with ever greater velocity. Britain was in a bad way politically speaking; then came the COVID-19 outbreak. According to Orton, “Weather Alive” is suggestive of “a very particular moment and very particular circumstances.”

“I got really quite bitter about it,” Orton says of COVID-19. “The fact that people couldn’t pull together on this one thing.” Britons are famous for their “wartime spirit,” as Orton calls it, but the virus was too big a logjam even for these historically resilient isles.

Given its origins, “Weather Alive” has a remarkable sense of equilibrium; this record is utterly at peace with itself. How did Orton pull it off? She found communion in her local music scene.

Her first recruit was Tom Skinner, a London rhythm guru known for his work with The Smile, a jazzified Radiohead spinoff. Orton’s instructions for Skinner — she wanted something “percussive” and “imaginative” — were elliptical, even vague, but it didn’t take long for the pair to make concrete progress. Their formative sessions resulted in “Fractals,” one of the album’s rockingest, boomingest tunes, as well as the fetching album closer “Unwritten.” Also involved at this stage was Skinner’s friend, the Mercury Prize-winning Tom Herbert.

Orton’s operation later expanded to include saxophonist Alabaster dePlume, whose part-time pursuits are too plenteous to list here, and guitar wonk Grey McMurray. Yet much of the heavy lifting was done by Orton and Orton alone. “Weather Alive” was her first stab at self-production, which for any musician without prior experience is a meteoric event. She met the challenge with unstinting focus (“If I hadn’t seen this through, I would have been really demoralized,” Orton says). It helped that Orton, who had taken courses on the weedier, more technical aspects of songcraft, was probably more learned than the average newbie.

“There were no drawbacks,” she says. “I had incredible raw material, beautiful players, beautiful songs. I just dug in and it became this incredibly creative, interesting experiment.”

Orton is too modest. Her “experiment” is in fact a feast for the senses, a tranquil and radiant mood piece; folk-rock meets cinéma du look. Now there’s a first.

7:30 p.m. Nov. 10 with Heather Woods Broderick at the Mayfair Theatre at the Irish American Heritage Center, 4626 N. Knox Ave.; tickets $40 at eventbrite.com

Matthew Richards is a freelance writer.



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Clues and answer for Monday, November 7, 2022

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Heardle gives a chance to music lovers from around the world to flaunt their knowledge of pop music. It can also be a great platform to discover new music or classics from years gone by, and is a thoroughly entertaining game that helps you unwind after a long and stressful day at work.

The game requires players to guess the title of a song by listening to the starting bits of its intro. The goal is to crack the puzzle as quickly as possible, using the least number of attempts out of a total of six available chances. The length of the intro also increases every time a player makes the wrong guess, making it easier to decipher the track.

Heardle was released in early 2022, and has since gone on to become one of the most popular browser-based games. Without further ado, read on to know some interesting details and clues for the song featured in today’s Heardle challenge.

Heardle clues and answer: Monday, November 7, 2022

According to Heardle’s official website, the songs that are played daily are among the most-streamed tracks of the last decade. This can be seen as an undue advantage to those who listen to contemporary music, but casual listeners need not worry – the game also features old classics from iconic artists like Michael Jackson, George Michael, and many others.

That said, here are some clues shared by Fortnite Insider that you can take a look at if today’s Heardle song is puzzling you:

  • The song was released in 1983.
  • The song’s genre is synth-pop, alternative/indie.
  • Single by New Order.
  • Length – 7:29.
  • Two words.
  • Begins with the word ”Blue.”
  • The Album’s name is Power, Corruption & Lies.

Still haven’t figured it out? Then you’re probably hearing the track for the first time, in which case you can keep scrolling down to find the answer.

The answer to today’s Heardle challenge is Blue Monday by New Order.

More details about Blue Monday by New Order

Blue Monday was released on March 7, 1983, as part of New Order’s critically acclaimed album, Power, Corruption & Lies. The song opens with a memorable upbeat drum intro that sets the tone. It also has a catchy baseline.

The number was a smash hit around the world and received widespread critical acclaim, with many critics and publications rating it as one of the greatest synth-pop songs of all time and one of the best songs of the 80s.

New Order are a popular electronic band who garnered massive international fame with the release of their hit single, Blue Monday, in 1983. Over the years, the band has churned out several memorable tracks, including Ceremony, Blue Monday, and Doubts Even Here, to name a few.

New Order’s distinctive style of music incorporates various elements of synth-pop, electronic rock, and post-punk, among others. They’re widely regarded as one of the greatest electronic bands from the ’80s and continues to influence a number of contemporary artists.

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Drake & 21 Savage Team Up For New Album, ‘Her Loss’

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Drake and 21 Savage just dropped an album.

After announcing it two weeks ago, the OVO Slaughter Gang duo went on a faux promo run – covering Vogue, an NPR Tiny Desk performance, and a sit-down with Howard Stern – leading up to today’s release of their collaborative album, Her Loss.

Having teamed up on a handful of tracks before – including “Jimmy Crooks” and “Knife Talk” off Drake’s Honestly, Nevermind and Certified Lover Boy albums, “Mr. Right Now” off 21 Savage and Metro Boomin’s Savage Mode II, “Sneakin” and “Issa” with Young Thug – Drake and 21 Savage have yet to miss. So, hopefully, with Her Loss they’ve continued to build on their chemistry and deliver a solid piece of work together.

Equipped with 16 tracks, 11 belong to both, while Drake has four solo tracks and 21 has one (“3AM On Glenwood”). Travis Scott makes the lone guest appearance with production provided by Noah “40” Shebib, Boi-1da, Metro Boomin, Lil Yachty, Tay Keith, Vinylz, Oz, Wheezy, and others.

Press play below be sure to add Her Loss wherever you get music.

Drake & 21 Savage Team Up For New Album, ‘Her Loss’ was last modified: November 4th, 2022 by 2DBZ





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How to Make Ambient Soundscapes with Eventide’s UltraTap Pedal

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In this tutorial, Sweatson Klank, the LA beat scene legend and PBLA lecturer, shows how you can make ethereal and ambient soundscapes using Eventide’s effects pedals.

Eventide’s intuitive range of hardware pedals is a must-try for any musician looking to experiment with their sounds. Whilst great to use in the studio, these are perfect for live performances and are certain to take your live sets to the next level. In this video, Sweatson Klank focuses mainly on Eventide’s UltratTap Pedal, showing how easy it is to warp and shape your audio.

At Point Blank Los Angeles, we can teach you the ins and outs of how hardware like this works – as well as help you get to grips with software plugins and DAWs such as Ableton Live, Logic Pro and GarageBand. If you’re keen to study with us in LA or online, you can find out more about our LA-based courses here.

According to Eventide’s website, “UltraTap is a unique multi-tap delay effects pedal perfect for staccato leads, swelling chords, and other evolving effects — everything from reversed reverbs to the sound of ripping it up in the Grand Canyon! Think of UltraTap as the mother of all Echoplexes and you won’t be too far off. That’s basically how it operates but with the flexibility to add as many ‘tape heads’ as you want and expressively control their positions and levels.”

If you’d like to ask a question or talk to one of our LA-based advisors about the events or any of our courses, please contact us at (323) 594-8740.

When you register with Point Blank, you access an array of free sounds, plugins, online course samples and much more! Simply register below and visit our Free Stuff page to get your hands on a range of exclusive music-making tools and tutorials provided by the team. Fill your boots!

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Lockdown, Authenticity Push Export Of Indian Classical Instruments

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As ennui arising out of Covid-induced lockdown and restricted travel settled in over the last two years, people picked new hobbies like learning music or brushed up old ones, inadvertently pushing the exports of musical instruments upwards.

Under lockdown in foreign land and yearning for home, online shopping provided the Indian diaspora with an opportunity to lay their hands on authentic instruments like the sitar, tanpura, or tabla, which was a major reason behind the uptick in sales, said exporters and musicologists.

Commerce and Industry Minister Piyush Goyal had on October 26 tweeted that the exports have risen more than 3.5 times in the first six months of the current fiscal compared to the same period in 2013.

Retweeting Goyal’s tweet the same day, Prime Minister Narendra Modi said the growth was encouraging. ”With Indian music gaining popularity worldwide, there is a great opportunity to further grow in this sector,” he tweeted.

The increase, however, has been significant starting from 2019-20, when India recorded the export of musical instruments worth Rs 195.52 crore, according to the data from the Department of Commerce. Over the next two years of pandemic, the export shot up after a slight dip in 2020-21 with the sale of instruments worth Rs 187.14 crore.

The country in 2021-22 at the peak of the COVID-19 pandemic registered a sale of Rs 287.45 crore worth of musical instruments. “There has definitely been an increase in the export of Indian classical music instruments post-pandemic. I think as people were forced to stay inside, they started picking new hobbies, or wanted to revive an old one,” Ajay Rikhiram of Delhi-based Rikhi Ram Musical Instrument Mfg Co told PTI.

He added, while import of Western instruments like a guitar too increased, more Indian instruments such as sitar, tanpura, harmonium and tabla were exported. Its usage as an accompanying instrument makes tanpura an essential element for almost all classical music renditions, Rikhiram said.

Sitar, on the other hand, remains the most sought-after instrument for its dominance in Indian classical music and popularity due to artistes such as Pandit Ravi Shankar and The Beatles’ George Harrison, he said. According to the Rikhi Ram website, a sitar can cost anywhere between Rs 75,000 and Rs 3.5 lakh. Similarly, the price of a tanpura can also vary between Rs 25,000 to Rs 1.25 lakh.

He added that the sales mostly come from the US while European countries come next. Government data shows that the US was the biggest importer of musical instruments, parts, and accessories from India in 2021-22, giving a business worth USD 7.37 million, a little over Rs 60 crore.

This year, from April to August, the US imported equipment worth USD 3.42 million (Rs 28 crore approximately) from India. Germany has remained a close second for several years now. In 2021-22, Germany imported musical instruments, parts, and accessories worth USD 6.60 million, nearly Rs 54 crore, in 2021-22, it bought Indian instruments worth USD 2.52 million, nearly Rs 20 crore, from April till August this year.

Other major importers of Indian musical instruments are China, Malaysia, Indonesia, the UAE, France, Japan, and the UK. Ashish Dewani of Mumbai-based Haribhau Vishwanath Musical Industries said there has been an almost constant uptick in the export over the last two-three years. The reason, he believes, is the travel restrictions.

“Earlier people used to buy instruments on their trips to India, but since there were restrictions for the most part of the last two years they preferred buying them online. Online music classes also helped push the sale,” Dewani said.

But what is it about Indian-made instruments that makes them unique in their quality so much that people are prepared to pay exorbitant international shipping prices? Anupam Mahajan, former Head, and Dean, the Faculty of Music and Fine Arts at Delhi University, said it is the oral tradition of this craft that is handed down to the generations that is intrinsic to India.

“Nowhere in the world will you find karigar (artisans) who can make Indian instruments. Because it is an oral tradition and passed down to sons by their fathers and so on. It is a generational knowledge,” Mahajan told PTI. She added that the genuine craftsmen who make musical instruments have been in this profession for generations and each part of an instrument is crafted by a different artisan.

“The novelty of an Indian instrument lies in the fact that the type of wood that is used, the type of polishing and other materials can only be found in India. On top of that, the measurements are so intrinsically Indian that one would be hard-pressed to find a match elsewhere,” she said. Rikhiram explained that it would be nearly impossible to make a sitar that would have the same tone and texture as one made in India.

“The top reason is the availability of five seasons in India that treats the wood for four-five years like nowhere else possible. Next, the pumpkin gourd that is used in making the veena family of instruments, including sitar, is brought in from the coastal states where it is moulded in a specific type of mud that makes it suitable for a sitar,” he said. It is the small things like these that make Indian classical music instruments unique in nature and also sought by enthusiasts the world over, he added.

(With PTI inputs)



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