Earlier in 2022 Mariah The Scientist shared her “project in-between projects,” The Intermission. One of the tracks from the four-song EP, “Spread Thin,” would become its standout track after it would go viral on Tik Tok. In response to its growing popularity, Mariah has now shared a video for the track.
The video serves as a recap of the singer’s 2022 thus far. “Shout out to my fans that were riding for this sh*t before Tik Tok! I made that video for you, inspired by everyone sharing what their year was like to my song,” she wrote on Twitter.
Mariah The Scientist Revisits Her 2022 (So Far) In “Spread Thin” Video was last modified: October 26th, 2022 by Meka
Eric Saade returns to Melodifestivalen and is in it to win it This year marks the tenth anniversary of Eric Saade’s victory in Melodifestivalen (Sweden’s biggest annual music event and preselection for Eurovision). In 2011, he represented his country at Eurovision with the song ‘Popular‘ and finished in third place. In 2021, he is onto his fourth participation in Melfest (he also finished 3rd in 2010 with ‘Manboy‘ and 5th with ‘Sting‘ in 2015) with his brand new single ‘Every Minute’. Saade is in it to win it once more!
In past years, Saade mostly released music in Swedish, but for Melodifestivalen he switched back to English. He co-wrote ‘Every Minute’ with Jimmy ‘Joker’ Thörnfeldt and Joy and Linnea Deb, with Joy Deb producing. They created a heavily electronic pop song with a contemporary feel. The production is effective with its stripped bare beats and rich vocal effects. The main hook is simple and straight to the point, but that doesn’t make it any less addictive. The melodies are strong and the ‘oh nananana’ parts are guaranteed to keep playing over and over in the back of your head. In the lyrics, Saade sings about how he wants to be intimate with his partner every minute of the day, getting more explicit in the second verse when he mentions the neighbours being able to hear them. Cheeky!
Now ‘Every Minute’ is a hit worthy tune that wouldn’t be out of place in international charts, but what really elevates its chances in Melodifestivalen (and potentially Eurovision after that) is its outstanding stage performance. Eric being alone, dressed in white in front of a black backdrop, doing a quirky choreography is all that is needed to make this performance completely captivating. Sure, his vocals won’t be the strongest of the night, but he holds his own with the song. Although the bookmakers think Tusse will win Melodifestivalen, to me, everything about Eric’s song and performance scream winner. We will know who will represent Sweden at Eurovision when the Melodifestivalen final takes place on the 13th of March.
CHECK OUT MY REVIEW ON DOTTER’S ‘LITTLE TOT’ HERE.
Danish indie/electronic music composer, producer and multi-instrumentalist Anders Trentemøller has been refining and redefining his musical direction since his indie-rock projects in the late 1990s. Through six studio albums under the name Trentemøller, along with numerous compilations, EPs and singles, and approximately 100 remixes for other music acts, he has progressed through indie and post punk to techno EDM and trip hop, cold wave and darkwave, and currently has arrived at a more cinematic and ambient milieu. Live, he revisits many of these genres and more.
For the current tour, Trentemøller the man has revamped his self-named band. The band Trentemøller now consists of himself on keyboards and programming, Icelandic solo artist DíSA (Dísa Jakobs) on vocals and guitar, Brian Batz of Sleep Party People on guitar, Jacob Haubjerg of Sleep Party People and Savage Rose on bass, and Silas Tinglef of 2nd Blood on drums. At the Hall at Elsewhere, Batz and Haubjerg also performed as a duo named Luster, a last-minute support act after Tom and His Computer canceled the tour.
Much of the concert spun on the tracks from Trentemøller’s sixth and most recent album, Memoria, released February 11, 2022. The album is Trentemøller’s longest, featuring 14 tracks, and the band performed more than half of it live, interspersed by older cuts. The newer songs especially seemed tailored for the stage.
The mostly-instrumental performance featured perhaps more vocals than expected, with DíSA provided feather-light melodies to some of the more ethereal compositions. These vocals were sometimes haunting in the midst of Trentemøller’s lusher soundscapes, producing a complex dream pop ambiance. Other pieces were more aggressive, often driven by the undercurrent of Tinglef’s motorik rhythms and Haubjerg’s pulsing bass lines. Throughout the set, however, Trentemøller himself at his keyboards and synthesizers was the concert’s dominant force, matching layers of synthwave with shoegaze, kraut rock and electronic pop.
Trentemøller’s performance demonstrated an uncommon bandwidth, drawing the listener to disappear into the hypnotic soundscapes. Although much of it featured danceable and even headbanging rhythms, the dense intricacy of this entrancing music transcended conventional marketing categories. The concert could be appreciated in both a theater setting and in a nightclub environment. Enter the mind palace of Trentemøller by either portal.
A 3D rendering of a new Sejong Center (Sejong Center)
Seoul Mayor Oh Se-hoon unveiled a plan to remodel the Sejong Center for the Performing Arts, turning the cultural complex into a global cultural icon like the Sydney Opera House or New York’s Carnegie Hall.
The mayor announced the plan, which includes a new concert hall dedicated to the Seoul Philharmonic Orchestra, during his visit to Philharmonie de Paris, a complex of concert halls in Paris that opened in 2015, Sunday.
“Philharmonie de Paris, which has an exceptional exterior design and cutting-edge facilities inside, is one of the recent cases of successful performing art centers that offer valuable ideas to Sejong Center’s remodeling project,” an official at the Sejong Center told The Korea Herald on Wednesday.
The remodeling plan was initially announced in June last year, two months after Oh came into office in April. At the time, Oh cited a number of concert halls as inspiration, including Elbphilharmonie, a concert hall that opened in 2017 in Hamburg, Germany.
Since then, the city of Seoul and the Sejong Center have been seeking ways to keep the historical original exterior of the building on Sejongdaero in central Seoul while improving its function as a performing arts center for its first remodeling since its opening in 1978.
While the center still holds symbolic significance as the country’s first cultural complex, the public as well as performers have been increasingly shunning the venue over the years as the tastes of audiences and cultural proclivities have changed significantly.
For instance, audiences have long complained that the Grand Theater, which has 3,022 seats, is unnecessarily big. Addressing this issue, the planned revamp includes reducing the number of seats in the Grand Theater and narrowing the space between the stage and the audience.
A classical music concert hall dedicated to the SPO will also be built. It will be the first classical music-only concert hall to be built north of the Han River and will offer a “music-only hall” optimized for live sound and full-scale orchestra performances, according to a joint statement released by the Seoul Metropolitan Government and the Sejong Center on Tuesday.
South of the river, there are already two major concert halls for classical music — Seoul Arts Center and Lotte Concert Hall.
The Sejong Center for the Performing Arts in Gwanghwamun, central Seoul (Sejong Center)
As part of an effort to create synergy with Gwanghwamun Square, located right next to the Sejong Center, an open space will be created linking the grand theater and the classical music concert hall, where various activities including standing performances and seminars can take place.
A media facade will be set up to livestream concerts held at the classical music concert hall for visitors to Gwanghwamun Square, which reopened in August after 21 months of renovation to enjoy.
The mayor said the construction could start as early as next year with a view to unveiling the new center in 2028. The remodeling of the center, which is a city property, requires a long process, including budget approval. Once a budget has been secured, a global design competition will be held.
Through this initiative, the center will become a venue for all types of performances, the Sejong Center said.
Leslie Jordan did not expect to have a career in country music.
The ‘Will and Grace’ actor tragically died whilst driving in Los Angeles this week at the age of 67 but collaborated with the likes of Dolly Parton and Brandi Carlile on the album ‘Company’s Comin’ in 2021 and explained that the shift in vocation was “unexpected” in what became his final interview.
He said: ” So unexpected just to happen in my 60s – I’m a country music singer now! I love Nashville and the way that Nashville embraced me, you know, and to be taken kind of serious, and to have made an album with Dolly Parton, Chris Stapleton, Brandi Carlile? That’s something!”
Leslie entered the music industry after Instagram videos showing him singing garnered him six million followers during the pandemic and at the time joked that the spread of COVID-19 had allowed him to “flourish”.
During an appearance on ‘CBS Mornings’ just two weeks before his death, he added: “I blew up. Give me a good pandemic and I flourish! I was just thinking, ‘My gosh who are these people that want to hear what I have to say?’ It was just the innocence of it I guess!”
The ‘American Horror Story’ star was reportedly en route to film ‘Call Me Kat’ when at the wheel of his car on Monday morning (24.10.22) and while a cause of death has not been established by the coroner as of yet, TMZ reports that investigators suspect it was a heart attack.
Production on the sitcom ‘Call Me Kat’ – in which Leslie played the role of Phil – has been put on hold following his passing.
His co-star Mayim Bialik was among the many celebrities and friends to pay tribute to Leslie online.
She wrote: “They broke the mold when they made Leslie Jordan. He was a dear mentor and a beloved friend. I will miss him so much – it’s unimaginable that he’s gone. Rest well, sweet buddy.”
Meanwhile, Zain Khan is presently riding on the huge success of his recently released music video ‘Aashiq Hoon,’ which has clocked more than 37 million views on YouTube.
Zain Khan.
By:
Mohnish Singh
Music composer Zain Khan, who burst onto the scene with the blockbuster song “Pallo Latke” from the 2017 film Shaadi Mein Zaroor Aana, has added one more exciting project to his resume. The composer has signed on to score music for an upcoming Hindi film, titled Project Love. He will be working on the soundtrack of the film along with Raees and Sam.
To be directed by Baljeet Singh Marwah, Project Love is a comic caper that stars Arjun Rampal, Mahima Makwana, and Omkar Kapoor in lead roles. Rampal’s girlfriend Gabriella Demetriades also plays a pivotal part in the film.
What makes Project Love very special for Zain Khan is the fact that it will be his first solo film as a composer. He informed us that he is quite thrilled about the upcoming project and has worked tirelessly to come up with great tunes, which will definitely strike a chord with listeners. The composer also divulged that singers like Stebin Ben, Asees Kaur, Nakash Aziz & more will be rending their beautiful voices to the songs.
Bankrolled by Reimagine Entertainment and Zee Studios, Project Love is currently under production. The film went on the shooting floor on October 14 in London. It will be shot across several parts of the city. The makers are yet to announce the official release date for the film.
Meanwhile, Zain Khan is presently riding on the huge success of his recently released music video “Aashiq Hoon,” which has clocked more than 37 million views on YouTube.
Local rockers called “The Summer of George,” had a good summer, but the fall was
even better as they released their high energy hit “Running to You,” which headlined their first professional music video filmed on a rooftop. Yes, a rooftop over the streets of Washington, D.C., reminiscent of The Beatles last performance on a rooftop in London.
“Running to You,” is a lively love song about chasing a romantic interest, and the band pulls it off, led by the high energy vocals of Ean Eschenburg. It was filmed and produced by local video company DMV Raps, on the rooftop of the guitarists’ flat in DC. The video will be released this Friday, Oct.28.
The roof was the home of rhythm guitarist Jakob Markham, but the rest of the band lives across the river in Virginia. Singer Eschenburg lives in Burke, Jon Kraft, the lead guitarist and songwriter, lives in Arlington, and drummer Nick Scyoc also lives in Arlington.
Turn the clocks back 53 years, and the rooftop locale came in handy across the pond too. The Beatles rooftop show was an impromptu concert on Jan. 30, 1969, from the rooftop of their Apple Corps headquarters in central London. They played a 45-minute set before the police arrived and made them turn down the volume. It was the final public performance of their career.
The Arlington Police have been to the Summer of George’s shows as well and started with the volume but ended up grooving to the music along with the band. The police even requested a song, band members claimed.
It’s a low tone. More vibration than sound. Insistent, but not annoying.
I slide my index finger across the face of my iPhone and the tone gets lower… lower… lower… and when I can barely hear it I select Next. A new tone starts. Slightly higher now. More Morse Code than vibration.
I’m taking a hearing test in the comfort of my home. A test administered by a Lightspeed Delta Zulu headset.
The 12 tones, ranging from 125 Hz to 12,000 Hz — first in the left ear, and then in the right — gather data for what Lightspeed calls HearingEQity, a new twist on active noise reduction or ANR.
In addition to blocking unhealthy noise, this next-gen Lightspeed headset is designed to actually boost sound levels you can’t hear well, a possible game-changer for an aging U.S. pilot population.
Using an IOS app, the Delta Zulu tests your hearing, and then, in addition to blocking unwanted noise using ANR, boosts useful sounds your hearing has trouble with. For Android users, you’ll need to make friends with someone with an iPhone.
I have hearing loss myself — worse on the high end — and sure enough, as the test got into the higher ranges I found that, rather than reduce the volume to the lowest detectable level, I had to turn the volume up to even hear the tones at all.
The test complete, I’m given a clip of music to listen to, and I can toggle the HearingEQity on and off to hear the difference. To be honest, the difference was subtle at best, but the music did come across somewhat richer with HEQ on and better balanced between my ears with no differential volume adjustment.
What music, you ask? The William Tell Overture, of course.
Now it’s time to fly the Delta Zulu.
Dispatch from east of Santa Rosa Route 66 Airport (KSXU) in New Mexico, descending through 7,200 feet MSL: The canary chirps in my ear. Actually it speaks in a pleasing low-key male voice, calmly saying, “Carbon monoxide unsafe level.”
It’s a Delta-Z Kanari Smart Alert — as in the proverbial canary in the coal mine — and this is the second fascinating feature of the new Delta Zulu. The headset sniffs the cabin air and alerts you if it detects carbon monoxide. But the level wasn’t really unsafe. I set the detector to the lowest possible level of 10 ppm to trigger an alert.
The headset’s CO detector is set up through an IOS app that also displays the current CO level, and can show a trend line. This trend line is supposed to be archived for comparison purposes from flight to flight, but my version of the app (a beta) crashed after every flight — better it than me — and in doing so lost the data each and every time.
But it does work in flight, and the NTSB, which has been on a carbon monoxide crusade for years, will probably give Lightspeed an award. This feature will no doubt save lives.
Above, a carbon monoxide warning screen on the headset’s app. Note that the default warning is actually higher, but was set lower to test the alarm, which is both displayed on the screen and is played as an audio alert in the headset. Below, in flight CO trends can also be monitored.
In my flights with the Delta Zulu, I did notice that the headset’s CO readings were significantly and consistently lower than the readings from my Sensorcon Av8. But bear in mind that we’re talking very small “background” levels here, and the headset is detecting the air around my head, the air I was breathing, while my portable hangs from a side panel below my shoulder.
On the head
My loaner headset arrived with its own fog bank in the box — a full week of the worst weather I’ve seen in years — so I didn’t get to fly with it as much as I planned to, but I did get in four flights, including an all-day cross country. And the first thing I noticed about the headset was that I didn’t notice it.
Even after a grueling, turbulent, three-state flight, the headset remained comfortable.
The notched headpad allowed me to wear a hat with a button top without feeling like a nail was being driven into my skull. The earcups gave my ears plenty of room, and the seals were comfortable and adapted quickly to my standard eyeglasses.
Controller
The Delta Zulu’s controller features a new form factor, with the wires to both the headset and to the panel going in the same end, allowing the controller to slide more easily into a map pocket, at least in theory.
However, the plug-into-the-airplane cord is short, and even in my cramped cockpit, wasn’t long enough to reach from the audio jacks in the center of my panel to the map pocket on the side wall. The cord was also too short to just let the controller rest on the floor.
Power
The headset comes with two battery packs, one for AA batteries, the other a rechargeable lithium ion battery which has to be attached to the headset to charge.
I opted for the AA option so I could have spares if needed — and I needed spares.
I found the battery life of the AAs in the Delta Zulu appallingly short. After about six hours of flight time, that calm male voice with a pleasant baritone was informing me that my batteries were low.
Sound Quality
I’ve been using passive headsets lately, and the ambient noise level with the ANR is remarkably lower in flight, but not so extreme that you can’t hear changes in engine noise that might signal trouble.
During taxi, I experienced quite a bit of ANR popping, roars, and warbles, but these settled down after liftoff.
Speaking of liftoff, I found that the Delta adapted more quickly to changes in sound than its predecessor, the Zulu 3, which always seemed to be playing catch up.
As with all ANR headsets, the Delta Zulu is nearly worthless as a passive headset in the case of battery failure. In fact, I really couldn’t tell much of a difference between the headset turned off and physically off my head.
One other negative is that the headset’s HearingEQity profiles can’t be saved, and creating a new one overwrites the previous one, making the headset ill-suited for shared environments like flight schools or clubs.
But those are small quibbles, and the Delta Zulu is a splendid headset whose positives far outweigh its negatives.
Radio calls were amazingly crisp and clear, as was intercom chat in flight. Music via Bluetooth sounded fantastic, and I appreciated the sweet way the music faded out smoothly for radio calls, and then gradually faded back in. Of course, via Bluetooth, you can make or receive phone calls.
But perhaps of greatest interest, I found that my post-flight tinnitus was significantly reduced with the headset, compared to other ANR or passive headsets.
That, for me, is the biggest game changer in a headset that’s posed to change a whole lot of games.
One cool under-rated feature is the fact that the Delta Zulu’s earcups can be rotated sideways to slim the profile of the headset, making storage in narrow flight bags a snap.
The headset is available now at a suggested retail price of $1,099. Find out more at LightspeedAviation.com.
