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Indian E-music – The right mix of Indian Vibes… » 2019 » August

One to watch: O’Flynn

Delivered... Kate Hutchinson | Scene | Sat 31 Aug 2019 2:00 pm
Flitting effortlessly between Afro disco and acid house, this young London producer is dancefloor dynamite

Nope, it’s not somewhere you’d end up on a wild out in Benidorm: O’Flynn is the alias of electronic music producer Ben Norris, purveyor of nimble, globetrotting house and disco jams. Since 2015, when James Blake played his track Oberyn on Radio 1, O’Flynn has been steadily releasing low-key secret weapons in DJs’ record bags. There’s Tyrion – inspired by the percussion he heard while on holiday in Morocco – which Four Tet dropped in a set on the streaming site Boiler Room. Or TKOTN, included by Bonobo on his mix for London nightclub Fabric’s esteemed compilation series.

O’Flynn’s music flits between contemporary takes on the Afro-disco revival and even, as on his recent Ninja Tune release, acid house. It calls into question the ease with which (largely white, usually male) music producers are using African samples (a children’s chant; a polyrhythmic drum beat) for some quick “exotic” flavour. But O’Flynn does it rather seamlessly, like a boogie-fied Auntie Flo. He has said his passion for African music runs deep and, in 2016, he was involved in recording the mataali drum and vocal troupe Mubashira Mataali Group in Uganda.

Aletheia is released on 6 September on Silver Bear. O’Flynn tours the UK from 16 September

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Clubnacht sounds: heavy techno from Jessica Kert,

Delivered... Peter Kirn | Scene | Fri 30 Aug 2019 5:24 pm

Let’s transport you to Berlin for a while – with three of us who share interests in techno and experimental electronic music, drawn from broader music and technological background.

I’m fortunate to get to join Jessica Kert, Lana Lain, and SDX tonight at Berlin’s Suicide Club. I’ve been a fan of Jessica’s music ever since first giving it a deep listening on her Detroit Underground outing. And as Jessica is deep into technology, it’s also worth noting that Lana Lain’s backround in techno is drawn from classical education. I think the days when there was a line drawn between such things are over. (That also means, in turn, erasing the attitude toward dance music as being a lesser form of expression, which speaking as an American to me suggests some fairly racist overtones.)

But let’s skip directly to the music. I’ve also got a new mix out this week, revealing some of the heavier sounds I’ve been into.

Jessica Kert (pictured at work, top) is a familiar face as one of the experts staffing Schneidersladen, but you should know her music as well – both solo and as half of the duo ZV_K.

Her outing on Detroit Underground DW is a modular magnum opus and one of my favorite DU releases of late:

But she’s also an adept live performance improviser – which will be on showcase tonight.

Check out her mix, too:

She’ll be joined on live visuals by defasten, who has been up to some superb alien eye candy, produced with software (modular, of sorts) Notch:

Lana Lain was born in Russian Karelia, but established herself in Stockholm before recently moving to Berlin. She’s been hyperactive in the music scene, including building her ФОМО party series (and accompanying radio show on the UK’s Fnoob Techno Radio. That has carved a space in Sweden for international art friendly to gay, queer, and fetish culture. I hope to talk to her more about that network soon, but in the meantime, here’s the terrific techno mix she did recently for Fast Forward:

I’ll also share a new mix of my own, channeling some harder, driving sets and favorites – and digging through this, I’m encouraged by how the darker, weirder sides of electronic music have gotten some real popularity in techno. These artists aren’t fringe any more, at least getting a growing following around the rich networks of fans in parties in Europe and abroad.

ˈYO͞ONƏˌSEKS is the new podcast and party series from ANRI, the Yokohama-born, prolific producer, DJ, and party organizer. Her work got her deep into Tokyo’s underground, before bringing that sensibility to Berlin, where she’s served as a bridge between the techno communities in Japan and Germany. So it’s a pleasure to reflect a bit of what I’ve gotten to experience from her circle into my own response:

Track listing – go find those folks and labels on Bandcamp or your favorite store (like Rotterdam’s Mord, who I didn’t repeat her intentionally, but whose Bandcamp page is well worth a splurge):

  1. Pris – Ad Infinitum [Avian]
  2. Donato Dozzy – Parola featuring Anna Caragnano (Rework) [Spazio Disponibile]
  3. Judas – ID 14 [Arts]
  4. Th;en – Modular (Mike Vath & Robin Hirte Remix) [Tabula Recordings]
  5. Sawlin – Oblique [Arts]
  6. Ansome – Bearded Lady (JoeFarr Remix) [Them Recordings]
  7. Blawan – 993 [Nutrition]
  8. Oscar Mulero – Texture (Cassegrain Remix) [Warm Up Recordings]
  9. Rebekah – Code Black (Slam Remix) [Soma Records]
  10. Ethan Fawkes – Barricades Did Not Burn [Corresponding Positions]
  11. Fjaak – Drugs [Seilscheibenpfeiler Schallplatten Berlin]
  12. Dave Tarrida – Bound To You [Mona Records]
  13. Albert Van Abbe – In Rotterdam [Mord]
  14. Uun – Destruction of Heaven and Earth [Mord]
  15. YYYY – Repent [Weekend Circuit]
  16. Scalameriya – Crucible [Perc Trax]
  17. Thomas P. Heckmann – Bodywrap [Monnom Black]
  18. Paula Temple, Fever Ray – This Country (Paula Temple’s INSTRUMENTAL Version) [Rabid Records / Co-op]
  19. La Fraicheur – Eaux troubles (VTSS Remix) [InFine]
  20. Hiro Ikezawa – Spiral Arm [Murasame Industrial Records]
  21. Ket Robinson – The Fear (Mab Remix) [Taro Records]
  22. A001 – Cyprido [Mord]
  23. Nicolas Bougaïeff – Cognitive Resonance [novamute]
  24. Air Liquide – Semwave [Blue]
  25. Sleeparchive – Wood [Tresor Records]


And if you’re in Berlin and want to stop by and say hi, that’ll be here, by Warschauer Str S-Bahn:



More on music and visual artists from – well, this week, even, as Atonal is also on – very soon. Now excuse me; I may squeeze in a disco nap.

The post Clubnacht sounds: heavy techno from Jessica Kert, appeared first on CDM Create Digital Music.

GMR to Offer Commercial Radio Another Extension of Their Interim License – to March 31, 2020 While the Litigation Continues

Delivered... David Oxenford | Scene | Fri 30 Aug 2019 1:54 am

This week, the Radio Music License Committee issued a press release that states that Global Music Rights (“GMR”), the new performing rights organization that collects royalties for the public performance of songs written by a number of popular songwriters (including Bruce Springsteen, members of the Eagles, Pharrell Williams and others) has agreed to extend their interim license for the performance of their music by commercial radio stations until March 31, 2020. The notice says that GMR will be contacting stations that signed their previous extension (through September 30, 2019) to extend the interim license on the same terms now in place. If you don’t hear from GMR by September 15, the RMLC suggests that you reach out to GMR directly (do not contact RMLC as they cannot help) to inquire about this extension.

As we have written before (see our articles here and here), GMR and the RMLC are in litigation over whether or not the rates set by GMR should be subject to some sort of antitrust review, as are the rates set by ASCAP, BMI and even SESAC (see our article here on the SESAC rates). Earlier this year, the lawsuits were consolidated in a court in California, where litigation is ongoing (see our article here about the transfer).  In the interim, there is no license to play the GMR music outside the Interim license offered to all commercial stations, or individually negotiated licenses with the company. Commercial stations that play GMR music should either have a license or should discuss carefully with counsel their potential options and liabilities if they continue to play GMR music. Do not ignore the potential liability as, under copyright law, there are substantial “statutory damages” of up to $150,000 per song for infringement. Noncommercial stations are not covered by this license being offered by GMR to RMLC members, as public performance royalties for noncommercial broadcasting are set by the Copyright Royalty Board (see our article here for more details on the royalties for noncommercial stations). Those stations should also discuss their obligations for royalties under the CRB decision with their counsel.


Bob Moog plus Moog imposters on a 70s game show is one of the best things ever

Delivered... Peter Kirn | Scene | Thu 29 Aug 2019 1:26 pm

Will the real Dr. Robert Moog please stand up? Early 70s panelists on the game show “To Tell The Truth” were stumped by an imposter.

It’s just – gold. I have no idea how we’re only seeing this now. There’s so much here.

You can hear people continue to mispronounce Moog even after hearing it a few dozen times, including pronounced by the man itself.

The imposters look and sound straight out of central casting (even the attorney), and the ones who are not Robert Moog are surprisingly adept at ad libbing answers.

Dan Lavery from Dymo Industries, one of the fake Bobs, may have been in the label/embosser market — but clearly if he were alive today, would be running a Eurorack business in his spare time. The guy is so uncannily good at being Bob you half expect him to try to go work for Moog following this panel and not to return to his normal life! Watch him grin ear to ear at what he’s pulled off.

Probably Bob misses out just because of his mild-mannered humility when answering.

At the end, Bob demonstrates the Minimoog. Listen to whoops of delight when he moves that filter, coming from legendary actor Peggy Cass. (“It sounds like the ocean” is also perfectly apt for shaped white noise.) The magic worked then just as it does now.

I also like the notion from Bob that what defines the term synthesizer is putting together sound from component parts. (I am simultaneously comforted that like the rest of us, he stumbles on explaining what an oscillator is in lay terms. I mean, it’s the thing that makes this sound.)

So, this blog business – sometimes you get scooped. And Synthtopia wins this round:

I think I owe Synthtopia a brand new Whirlpool washing machine for acing the best YouTube share of the year, while i take home a tennis racket bag this round. But it’s terrific.


Now, can we figure out a way to get Laurie Spiegel on Jeopardy?

The post Bob Moog plus Moog imposters on a 70s game show is one of the best things ever appeared first on CDM Create Digital Music.

Correction: FCC Regulatory Fees Due September 24 – And You Can Start Paying Now

Delivered... David Oxenford | Scene | Wed 28 Aug 2019 10:35 pm

The FCC issued a Public Notice today, announcing that its regulatory fee filing system was now taking payments – and that payments are due by 11:59 PM Eastern Time, on September 24.  Yesterday, we indicated that the fees were due on September 30.  We based that on a sentence in the FCC’s Order that said that was the deadline for the fees – but the FCC must have been talking about its deadline for collecting the fees, not the deadline for fee filers to pay the fees – as today’s Public Notice makes clear.  So make sure you file before September 24 to avoid big penalties.

Broadcasters should review  the Media Bureau’s Fee Filing Guide, available here.

Correction: FCC Regulatory Fees Due September 24 – And You Can Start Paying Now

Delivered... David Oxenford | Scene | Wed 28 Aug 2019 10:35 pm

The FCC issued a Public Notice today, announcing that its regulatory fee filing system was now taking payments – and that payments are due by 11:59 PM Eastern Time, on September 24.  Yesterday, we indicated that the fees were due on September 30.  We based that on a sentence in the FCC’s Order that said that was the deadline for the fees – but the FCC must have been talking about its deadline for collecting the fees, not the deadline for fee filers to pay the fees – as today’s Public Notice makes clear.  So make sure you file before September 24 to avoid big penalties.

Broadcasters should review  the Media Bureau’s Fee Filing Guide, available here.

Gory sounds from vegetables and fruits: Mortal Kombat sound design

Delivered... Peter Kirn | Scene | Wed 28 Aug 2019 6:21 pm

VICE News did a great video piece on the sound design of the latest Mortal Kombat video game. And it could inspire you to try some experiments with a mic yourself.

“You punched my brain out of my face.” Okay, that needs some gooey, awful sounds indeed.

VICE headed to the recording facilities at Netherrealm Studios in Chicago, who worked on the game’s foley track, and spoke with Senior Sound Designer Stephen Schappler. Now, you may or may not get the chance to make your own violent game soundtrack, but the thoughts here are some added sonic inspiration to try new experiments with a mic.

The secret sauce is pretty simple: actual blunt objects and weapons, meet … juicy fruits and veg. Get those organic sounds, then repitch, process, distort, and so on. (It occurs to me that may shift the approach a bit from the more real-for-real technique of someone like Ben Burtt, whose sounds for the likes of Star Wars seemed to involve more layering and unexpected recordings, lacking some of this software. But both directions likely now hold some appeal for us today.)

Nutcracker and nuts – that’s easy. Squishing a green pepper or grapefruit – fantastic. I won’t give all the rest away.

In the box, there are still more tricks – let’s trainspot a bit here.

The DAW is Reaper, which looks like Stephen has really mastered in keyboard shortcuts. (Note also the track folders for asset management.)

You’ll also see he keeps a second display for maintaining a giant list of sound files. And there are some convenient controllers handy (a MIDI Fighter Twister, PreSonus FaderPort – actually, the Classic.)

The big trick here is mangling the samples with Twisted Tools’ S-LAYER for Reaktor 5 and later.

Fun times.

You know you’re a sound geek, though, when this makes you want to open Reaktor rather than a PlayStation.

The post Gory sounds from vegetables and fruits: Mortal Kombat sound design appeared first on CDM Create Digital Music.

Meet Drömfakulteten, The Collective Behind Some Of Sweden’s Most Forward-Thinking New Music

Delivered... Derek Opperman | Scene | Wed 28 Aug 2019 3:47 pm

The post Meet Drömfakulteten, The Collective Behind Some Of Sweden’s Most Forward-Thinking New Music appeared first on Telekom Electronic Beats.

2019 FCC Regulatory Fees to be Due By September 30 – Commission Issues Fee Order

Delivered... David Oxenford | Scene | Wed 28 Aug 2019 2:44 pm

The FCC on Tuesday released its Report and Order on regulatory fees.  The Order says that the fees will be due by September 30.  The FCC should soon issue additional guidance about the exact filing dates and procedures.

In the Order, the FCC did reduce the fees for radio somewhat from those proposed in their Notice of Proposed Rulemaking in May.  However, it was not the decrease sought by many broadcast groups.  The radio fees, even though reduced, still result in an increase from last year’s fees.  The FCC attributed that increase both to a somewhat smaller number of stations and an increase in the operating costs of the FCC that had to be shared among all regulated entities.

The FCC rejected requests to review its prior decision to begin to base TV regulatory fees on the population served by the TV station, rather than based on its DMA.  The FCC did, however, announce that it would commence a Further Notice of Proposed Rulemaking to decide whether to reduce the fees paid by VHF stations in the future.  Some broadcasters argued that because the real-world digital signal of VHF stations is inferior to that of UHF stations even when both are predicted to serve the same area, VHF stations in fact reach fewer viewers.  The FCC will consider that issue for 2020 reg fees.

Also to be considered in this Further Notice is whether stations should pay lower regulatory fees when they are being “incubated” in the FCC’s incubator program designed to encourage new broadcast owners.  Comments on the Further Notice will be due 30 days after the FCC’s Further Notice is published in the Federal Register.

While further procedural details on reg fee filing will be coming from the FCC, the Order did emphasize two points.  It made clear that the licensee who holds the station license on the date that the fees are due is responsible for paying those fees, even though the fees are based on the status of the station as of October 1, 2018.

Also, the FCC made clear that it will not issue blanket fee waivers for stations in bankruptcy.  While the FCC may waive regulatory fees for a licensee that can demonstrate a unique financial hardship, the FCC made clear in the Order that bankruptcy was not automatically a demonstration of that inability to pay.  Instead, a licensee in bankruptcy proceedings must show why it filed for bankruptcy, whether it is liquidating its assets or merely doing a reorganization, whether the bankruptcy estate has sufficient funds to pay other creditors, and similar factors.  Whether a bankrupt company will receive a waiver will be assessed on a case-by-case basis.

Watch for more details on filing procedures shortly.


Music: Dart to Hard Rock Cafe Andheri and enjoy Side A Side B ft. One Night Stand – Indulgexpress

Delivered... | Scene | Wed 28 Aug 2019 12:59 pm
Music: Dart to Hard Rock Cafe Andheri and enjoy Side A Side B ft. One Night Stand  Indulgexpress

Hard Rock Cafe Andheri is hosting One Night Stand, a classic rock cover band from Mumbai, who will play covers to some of the best known classic rock and ...

The month’s best mixes: blood-pumping beats and meditative techno

Delivered... Tayyab Amin | Scene | Wed 28 Aug 2019 11:31 am

UNIIQU3 gives retro sounds a new sheen with her AFROPUNK mix, while MssingNo devastates with his glorious melodrama

Dazed Mix: Anthony Naples

Related: The month's best mixes: cosmic connections and oceanic electronics

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Reverb are giving away their complete $841.58 drum machine sample collection, free

Delivered... Peter Kirn | Scene | Tue 27 Aug 2019 1:15 pm

Maybe they’re feeling generous after getting bought by Etsy for $275 million. But whatever the reason, now you can have some 50 libraries of classic drum machine samples, for free, from Reverb.com.

Rare, popular, iconic, forgotten – it’s the full gamut, from Suzuki RPM-40 and Hammond Auto-Vari 64 to, you know, 909.

I would say this would hurt some other sample library providers, but frankly there’s a ton of stuff in there that I just have never seen sampled, so it’s more like – get ready for some tyranny of choice in your next drum kit assembly.

No idea how long this is going, so worth grabbing now:


The post Reverb are giving away their complete $841.58 drum machine sample collection, free appeared first on CDM Create Digital Music.

The new Renoise stretches samples, scales UIs, shapes curves, more

Delivered... Peter Kirn | Scene | Tue 27 Aug 2019 12:53 pm

Renoise, the gorgeous, obsessive production tool that makes the tracker modern, gets a point release with some very good stuff. High res UIs, custom envelopes, native time stretching – and yeah, it’s a host and a plug-in, too.

It’s fitting somehow that Renoise 3.2 and its plug-in version come on the heels of Reason 11 and its Reason Rack Plugin. Renoise had the same idea – Redux is the plug-in version of the production tool, reimagined in this case as a self-contained instrument. That means you can drop Redux (Renoise) into Reason if you like the Reason workflow and patching. Or if you’ve ever wished you could take Reason’s excellent instruments and effects, but control them with the precision of a tracker interface, now you’ll be able to take Reason Rack Plugin instances and run it inside Renoise. Whoa.

Re re re re ….

But whether or not you get into that, Renoise is just… well, awesome. And 3.2 is a free update (alongside Redux 1.1) that adds a ton of major stuff that would probably be a full, paid, whole number version update from some other developers.

Let’s talk:

Custom GUI scaling options and full high density display support (HiDPI or what Apple calls Retina). No more blurry UIs.

Native time stretching of samples, with Rubberband in the sampler.

Detachable mixer.

Custom curves: custom exponential, per point scaling in all automation editors and the AHDSR modulation device. Because, really, trackers deserve curves now.

Audition sample editor selections with a MIDI keyboard or your computer keyboard.

In other words, you’ll now be able to work with samples and curves more fluidly, and you won’t have to squint at your display. And all of this runs in Mac, Windows, and Linux, plus 32-bit and 64-bit plugins for VST or AU (and Linux VST, too).

Full details:


The post The new Renoise stretches samples, scales UIs, shapes curves, more appeared first on CDM Create Digital Music.

Mumbai: Lakme Fashion Week runway collection comes to Pernia’s Pop-Up Shop – Indulgexpress

Delivered... | Scene | Tue 27 Aug 2019 12:09 pm
Mumbai: Lakme Fashion Week runway collection comes to Pernia's Pop-Up Shop  Indulgexpress

Pernia's Pop-Up Studio is organising The Lakme Fashion Week Edit where you can shop the runway collections from designers like Ritu Kumar, Kaveri, Diya ...

When a Broadcast Advertiser Becomes A Political Candidate, What is a Station to Do?

Delivered... David Oxenford | Scene | Tue 27 Aug 2019 4:48 am

In many states, we are in election season for local offices, which has resulted in a question that has come up repeatedly in the last few weeks about local candidates – usually running for state or municipal offices – who appear in advertisements for local businesses that they own or manage. Often times, these individuals will appear in their business’ ads outside of election season, and don’t want to stop appearing in those ads during their bid for elective office. We wrote about this question in an article published two years ago and again a bit more than a year ago.  But, as the question continues to come up, it is worth revisiting the subject. What is a station to do when a local advertiser decides to run for office?

While we have many times written about what happens when a broadcast station’s on-air employee runs for office (see, for instance, our articles here, here and here), we have addressed the question less often about the advertiser who is also a candidate. If a candidate’s recognizable voice or, for TV, image appears on a broadcast station in any “positive” way, whether it is political in nature or not, it is considered a “use” by the political candidate.  What is a “positive” use?  Basically, it is any appearance that is not negative to the candidate (i.e., it is not in an ad attacking that candidate).  To be a positive “use” by the advertising candidate, the appearance must also be outside of an exempt program (in other words, outside of a news or news interview program which, as we wrote here, is a very broad category of programming exempt from the equal time rules).. “Uses” can arise well outside the political sphere, so Arnold Schwarzenegger movies were pulled from TV when he was running for office, as were any re-runs of The Apprentice and The Celebrity Apprentice featuring Donald Trump.  An appearance by a candidate in a commercial for his or her local business is similarly a positive “use” which needs to be included in a station’s political file (providing all the information about the sponsor, schedule and price of the ad, as you would for any pure political buy). But that does not necessarily mean that a station needs to pull the ad from the air.

A commercial for a business is almost always a paid spot, where the station is receiving money to air the ad (and not an unpaid one like the appearance in an entertainment program, where the station does not get paid to air the comedy program or movie in which a candidate appears).  Thus, a “use” arising in a paid commercial gives rise to equal opportunities for other opposing candidates to buy time on the station. The station usually will not be required to provide free time to opposing candidates (but watch for candidate appearances in PSAs, usually by incumbents, as that might give rise to free time for opposing candidates). If the station has plenty of commercial inventory and does not mind selling spots to the opposing candidate for the lowest unit rates that apply during the political windows (45 days before a primary and 60 days before a general election) to spots purchased by a candidate’s authorized campaign committee (the opposing candidate gets lowest unit rate for a spot run in connection with his or her campaign, even if the commercial business bought the spot featuring their employee-candidate at regular commercial rates), a station may decide to continue to air the business spots with the candidate’s appearance. But if inventory is tight, or the station wants to avoid having to sell political ads to candidates in a particular state or local race (as state and local candidates, unlike those running for federal office, have no right to access to buy spots), the station may want to tell the business that the candidate can’t appear in the business’ spots once the candidate becomes legally qualified, as the running of those spots featuring the voice or image of the candidate would require the station to provide equal time to the opposing candidates upon request.

Note that the “no censorship” provision of the Communications Act and the lowest unit rate provisions likely do not apply to the business spots even though they contain the voice or image of a candidate. That is because these spots are not uses by the candidate or the candidate’s authorized campaign committee which are covered by the rules providing for lowest unit rates and the “no censorship” provisions of the law. As the commercial spots are not by the candidate or his or her political committee, but instead they are commercials by a business that happen to be “uses,” normal commercial rates can be applied rather than lowest unit rates (though the opposing candidates do get LUR for their equal time ads run during a political window).

Note, also, that business spots that advertise a business in which the candidate’s name appears, but where the actual candidate does not appear by voice or picture, probably do not trigger any equal opportunity issues. It is the recognizable voice or picture of the candidate that triggers the equal opportunity and public file requirements. For those of us here in the DC area, we are accustomed to seeing ads for the local Volvo dealer even during election season, even though that dealership is named after a politician currently serving in Congress.

As in all areas of political broadcasting, any analysis of the implications of any on-air appearance of a candidate can be a very nuanced matter, and small changes in the facts can result in big changes in the legal conclusions that apply. So if these situations arise, consult with the station’s legal counsel before making any decision as to how to treat these kinds of ads. This article is just meant to note that there may be options for dealing with the candidate-advertiser if he or she wants to stay on their business’ spots during an election period, depending on the station’s circumstances. For more general information about the rules that apply to political broadcasting, see our Guide to Political Broadcasting, here.

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