Warning: mysql_get_server_info(): Access denied for user ''@'localhost' (using password: NO) in /home/customer/www/e-music.india-meets-classic.net/public_html/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/customer/www/e-music.india-meets-classic.net/public_html/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » 2017 » January » 12

Wiley: The Godfather review – grime originator delivers a blockbuster

Delivered... Ben Beaumont-Thomas | Scene | Thu 12 Jan 2017 11:15 pm

(Chasing the Art)

Not only did he help invent grime back in the early noughties with his frostbitten take on garage production, Wiley was one of the few to successfully transition into pop. And with grime now back in the zeitgeist, his demeanour on this blockbuster album is of a foreman nodding with satisfaction as he looks across a building site – if they’re not already guesting on it, Wiley is praising his fellow UK MCs almost every other bar. A streak of high-gauge shellings are a reminder of his own prowess as a club rapper, the peak being Back With a Banger, with precision-tooled syllables over a speed-garage beat from Preditah, flowing into the equally nimble Joe Bloggs. And while it might not be radically progressive, there’s still room for curios such as Laptop, a pretty love song to his Macbook Pro; U Were Always, Pt 2, a Drake-influenced ballad about woman trouble – though naturally Wiley’s arguments are happening in Nando’s rather than Cheesecake Factory; and My Direction, with its surprisingly vibey use of a clarinet.

Continue reading...

Bonobo: Migration review – pensive ambient electronica from a nomadic soul

Delivered... Harriet Gibsone | Scene | Thu 12 Jan 2017 10:30 pm

(Ninja Tune)

It might not be the revolution the music world is pining for, but streaming services have recently reported an explosion in the popularity of ambient world electronica. Good timing for the doyen of percussive atmospherics, Simon Green, who returns with his sixth album. Inspired by his experiences as a nomadic musician rather than global issues surrounding migration, the record shares the same melancholic intensity of Jon Hopkins’ Immunity, but its head remains in the clouds rather than the club. Nicole Miglis’ vocals on Surface flicker like the flames of a backpacker’s campfire; the woozy No Reason is verdant and brooding; the languid, half-awake Break Apart caters to the chillout/easy-listening audience; while Bambro Koyo Ganda features energy from Morocco’s Innov Gnawa; and Kerala’s undulating rhythms, pensive and purposeful, mirror the movement of a bird’s wing.

Continue reading...

Sohn: Rennen review – affected modern blues with some intriguing touches

Delivered... Rachel Aroesti | Scene | Thu 12 Jan 2017 10:15 pm


Straddling the worlds of electronica and nu-R&B, British musician Christopher Taylor’s output can be loosely divided into two separate entities. Zoom in and the electronic productions that form the skeleton of his second record come into focus: muggy, oppressive tapestries of pounding percussion and interesting sonic flourishes, from ghoulishly echoing bass to crisp, clip-clopping beats. Take a step back from the digital fiddling, however, and the bigger picture is markedly less appealing. Taylor tends to sing in the abrasively squawky style of all the cod-soulful male vocalists du jour – from Hozier to Ed Sheeran and Rag’n’Bone Man. The pose is compounded by the lyrics: in Hard Liquor, Taylor pursues genre-related imagery in lines such as “My baby don’t make a sound / As long as her hard liquor’s never watered down,” to unequivocally cringeworthy effect. Despite his obvious production chops, Sohn the popstar seems merely an uninspiring iteration of the current trend for singing an irritatingly affected brand of the blues.

Continue reading...

A First At NAMM: Sylvia Massy’s New Coloring Books ‘Audio Icons & Recording Unhinged’

Delivered... Emusician RSS Feed | Scene | Thu 12 Jan 2017 7:17 pm
For Those who Color Outside the Lines!

Bitwig Studio 2 lets you modulate and control like a bandit

Delivered... Peter Kirn | Scene | Thu 12 Jan 2017 7:04 pm

Bitwig gets its first blockbuster upgrade since launch, in beta now. And the first look at this software suggests it’s continuing to deliver what an enthusiast audience wants – even if some of the revolutionary promise of the tool remains over the horizon.

So, first, what it isn’t: it isn’t a complete modular environment. Underneath all the goodies Bitwig offers is a set of modules that provide its functionality. Bitwig’s developers have said eventually they’ll open that up to users, not just for their own development. And that’s be exciting indeed.

But forget about big ambitions for a moment. The step that we get here looks really useful.

In fact, it might be friendlier to everyday users than the grand-modular-everything scheme.


What’s cool about Bitwig is its consistency. I think Ableton has actually suffered as its included devices have fragmented. There are third-party tools that never get updated. There are truly native tools like Simpler – and those are great. Then there are features relegated to second-class citizens as Max for Live devices, which sometimes cause them to behave differently or load more slowly. There are different sets of tools for monitoring signal or looking at frequencies, and they aren’t available everywhere. Lots of functions aren’t modular. MIDI assignment is clunky. I could go on. Adding Max for Live seems to have become an excuse for not fundamentally improving any of this – at least through what’s now several years of updates. And, apologies, Ableton, but I think in this case you deserve the comparison.

Bitwig’s first versions laid a foundation for something more consistent and integrated. But we had to wait for them to deliver a product that built from that competition past the competition.

And modulators really look like they could be it. Every internal device, and every plug-in, now has an unlimited number of modulator slots.

So add an LFO if you want. Add some math or randomization. There are envelopes and step sequencers and keytrackers and nifty X/Y controllers. Plug those in, change whatever you want. Do it anywhere.

These are also all polyphonic. That combined with the cool control provided by devices like ROLI’s I think could open up a new approach to sound design.

I won’t mince words: you can stop reading here, because I think modulators are a reason to give Bitwig a go.


This semi-modular capability is much of the time probably more appealing for quickly coming up with ideas than a full-modular environment would be. On the other hand, if this works, it can and should increase appetite for more modular tools – if I could just change that step sequencer a little…

But I really think this illustrates the limitations of Max for Live, or running other environments as plug-ins. Being able to modulate in devices while you arrange, inside a DAW, natively, is a whole other experience. I can’t wait to try it, and I’ll be writing once I get some time with the beta.

Check them out here.


Hardware integration is the other functionality I think is really important, and really in tune with how many people want to work now. Again, it’s nice to see Bitwig add these features natively.

For MIDI, you get devices for both hardware and plug-ins:
Control Change (CC)
Program Change

And hardware devices:
Clock Out
MIDI timecode (MTC)

Plus, there are Control Voltage devices, for gate, continuous control, and simple direct signals:
CV Instrument
CV Out

You also get a bunch of MIDI/pattern devices – nothing so radical to users of other DAWs, like Cubase, but I think doubly welcome in the context of the other hardware features and rich modulation:

Multi-note (think chords)
Note harmonizer
Note length
Note echo
Note latch
Note velocity

Add those together with modulation, and many of you probably don’t need a full modular tool.

Remote Controls for any device take the best feature of Live’s Racks – macro mapping – and appear to make it more coherent. Whereas those are device-specific and require setting up a rack, Bitwig’s feature can be saved with presets, too, and are available everywhere. They also go well with the hardware integration features above.

The other reason I’m going to give this a second go is, frankly, fades/crossfades – which look elegant and nicely work not only in the arrangement view but in clips and audio editor, too.


Like any maturing DAW, the rest of this is a sort of grab bag of lots of improvements to workflow – the various refinements that occur in parallel to multiple elements of the tool.

So you get a spectrum analyzer, and spectral tools through the internal toolset. There’s an expanded Polysynth, with expanded timbral tools like oscillator mix and filter waveshaping modes – and it combines with those new modulators. There’s VST3 support – a rarity outside Cubase.

If that didn’t excite you, zoom in on this shot of the Polysynth. The new visual language, the friendliness of the UI, the richness of modulation – this looks like promising stuff for synth lovers.


They’ve also significantly streamlined editing workflows and how tools, menus, and windows are integrated.

I expect some people will be disappointed that the revolution hasn’t arrived. And it means there’s a battle for Bitwig. The DAW market is crowded. Just being good – sometimes even being better – has never been enough.

But I think we may finally get a chance to really take advantage of the modular engine beneath Bitwig. And since a lot of us have tracks we want to make, the availability of modulators and the nice suite of arrangement and control tools here mean something you can use right now, today.

We’ll have more to say once we do our review. Happy modulating.


The post Bitwig Studio 2 lets you modulate and control like a bandit appeared first on CDM Create Digital Music.

Korg Announces ARP Odyssey FS

Delivered... Emusician RSS Feed | Scene | Thu 12 Jan 2017 6:49 pm
With Decades of Soul, The Full-size Arp Odyssey is back in more ways than One

Background on the GMR/RMLC Dispute – 5 Questions on the Basics of the Controversy

Delivered... David Oxenford | Scene | Thu 12 Jan 2017 4:38 pm

Commercial radio broadcasters have been seeing numerous communications over the last week about Global Music Rights (GMR) and its seemingly contentious music royalty negotiations with the Radio Music License Committee (RMLC). Many stations are confused about this controversy and what it is all about. The 5 questions below, and the links at the end of the questions, try to shed some light on the issues. Stations need to carefully consider their options, and seek advice where necessary, to determine what they will do by January 31 with respect to the interim license that GMR has offered to stations. The questions below hopefully provide some background on these issues.

 What is GMR and why isn’t the music they represent covered by the other organizations like BMI, ASCAP, and SESAC?

 GMR is a new performing rights organization. Like ASCAP, BMI and SESAC, they represent songwriters and collect royalties from music users for the public performance of these songwriter’s compositions. They will collect not just from radio, but from all music users – they have already reached out to business music services that provide the music played in retail stores, restaurants and other businesses and no doubt have or will license other companies that make music available to the public. Most songwriters represented by GMR used to be represented by ASCAP or BMI, but these songwriters have withdrawn from ASCAP and BMI and joined GMR, allegedly to attempt to increase the amounts that they are paid for the use of the songs that they have written. For radio, these withdrawals became effective on January 1 of this year, when the old license agreements between ASCAP and BMI and the commercial radio industry expired.

What does a station need to, in order to protect itself while negotiations are going on?

Because the penalties for playing a song without a license can be as much at $150,000 per play, stations either need to purge all GMR music from their stations or sign a license agreement with GMR. If you decide to purge their music from your stations, don’t forget about music that may appear in commercials or syndicated programming. Also remember that we are talking about the musical composition, not the recording of the song by any particular band or singer. Even the broadcast of a high school band playing a GMR song at half time of some football game, or the broadcast of a local middle school choral concert, could trigger the royalty obligation to GMR.

What does the “Interim License” through September mean?

The Radio Music License Committee (RMLC) is the group that represents most commercial radio broadcasters in music royalty negotiations with the various organizations that represent songwriters. They have been trying to reach a license agreement with GMR, but have not been able to reach one at rates that they consider to be an appropriate reflection of the airplay received by songs written by GMR songwriters. RMLC has actually sued GMR, arguing that GMR has violated the antitrust laws in the negotiation process, and asking that an arbitration process be set up to determine rates (and GMR has, seemingly in response, sued RMLC).

Since it was clear that no final agreement between RMLC and GMR could be reached by January 1, to avoid having stations that play GMR music being subject to lawsuits for copyright violations, GMR has offered an interim license that lasts for 9 months. Presumably, if in that time GMR and RMLC settle their disputes and arrive at a reasonable royalty rate, and that royalty rate is less than the interim rate, some credit for part of the sums paid under this interim rate could potentially be built into the new rates.

GMR has this week reached out to many station groups with specific proposals as to an interim rate. Commercial stations that did not receive information from GMR can reach out to them and ask for the rate information. GMR has given stations until January 31 to agree to that rate, sign the interim license agreement, and pay the first month’s royalties. If a station does not choose to sign the interim deal and has not negotiated its own royalty agreement, and if it continues to play music written by GMR artists, then it is potentially subject to a copyright infringement lawsuit.

Is this going to lead to more people making demands for payment for songs broadcast on the radio?

If GMR is a successful in collecting enough money to pay its songwriters more than writers receive from ASCAP and BMI, this could encourage other organizations to create similar licensing organizations. Some large publishing companies have already suggested that possibility, and there are certain other companies that specialize in maximizing royalties for songwriters that have the potential to do the same thing. However, starting a performing rights organization like ASCAP, BMI, and SESAC is not easily accomplished as it requires setting up infrastructure for collection, reporting, distribution and enforcement activities. It also requires waiting for existing contracts granting performance rights to expire. Thus, new organizations are not likely to pop up overnight.

Is this related at all to the radio streaming waiver with SONY that the NAB is urging stations to consider?

The GMR issues all involve the rights to perform the underlying words and music to a song, not the rights to perform a recording of that song as recorded by any particular band or singer. The recording by a particular performing artist is called a “sound recording” or “master recording.” Broadcasters do not pay for the over-the-air performance of sound recordings, but they do pay performance fees when those recordings are streamed. The Sony waiver involves the digital performance right to sound recordings, and some of the rules that apply under the license for those digital performances. It is unrelated to the GMR controversy.


For more detailed information about some of these issues, I have written a number of articles discussing music rights on this blog. Some of the articles most directly relevant to the issues discussed above can be found at the links provided below.

On the Interim license issued by GMR, see my article here: http://www.broadcastlawblog.com/2016/12/articles/gmr-and-rmlc-agree-to-interim-license-for-commercial-radio-stations-providing-9-months-to-reach-final-deal-for-public-performance-of-musical-compositions/

On the litigation between GMR and RMLC see my articles here http://www.broadcastlawblog.com/2016/11/articles/rmlc-files-antitrust-lawsuit-against-gmr-and-seeks-to-enjoin-new-music-license-fees-on-radio-stations/ and here:   http://www.broadcastlawblog.com/2016/12/articles/gmr-sues-rmlc-claims-antitrust-violations-for-negotiating-royalties-on-behalf-of-the-radio-industry-what-are-the-implications/

On the Sony waiver, see my article here: http://www.broadcastlawblog.com/2016/10/articles/nab-announces-agreements-with-sony-and-warner-to-waive-performance-complement-and-other-statutory-requirements-for-broadcasters-who-stream-their-signals/

For more information about some of the other potential players in music licensing, see my article here: http://www.broadcastlawblog.com/2016/07/articles/socan-buys-audiam-the-consolidation-and-fragmentation-of-music-rights-what-does-it-mean-for-music-services/

For a general summary of many of the music issues that affect broadcasters, see my article here, and the presentation slides that are referenced in that article: http://www.broadcastlawblog.com/2016/08/articles/whats-up-with-music-rights-for-broadcasters-and-webcasters-a-presentation-on-pending-issues/



Delivered... Spacelab - Independent Music and Media | Scene | Thu 12 Jan 2017 4:00 pm
Moogfest has started to name the Future Thought lineup! Nick Zinner of Yeah Yeah Yeahs, Jas Shaw of Simian Mobile Disco and Wolf Eyes are all in fo far to name a few.


Delivered... Spacelab - Independent Music and Media | Scene | Thu 12 Jan 2017 4:00 pm
Major Lazer, Bassnectar, Kaskade, Marshmello, Galantis, Alison Wonderland, Datsik all lead the deep, deep lineup!


Delivered... Spacelab - Independent Music and Media | Scene | Thu 12 Jan 2017 4:00 pm
Porter Robinson, DJ Snake, Tchami and Jauz have all been named to the Something Wonderful lineup! Tickets are on sale!


Delivered... Spacelab - Independent Music and Media | Scene | Thu 12 Jan 2017 4:00 pm
The SXSW Music lineup has added Merchandise, Lydia Ainsworth, Dead Meadow and hundreds more to its massive lineup! Keynote speakers are Nile Rodgers and Zane Lowe. Get all of the details! Almost 500 new acts were added!


Delivered... Spacelab - Independent Music and Media | Scene | Thu 12 Jan 2017 4:00 pm
Moogfest has started to name the Future Thought lineup! Nick Zinner of Yeah Yeah Yeahs, Jas Shaw of Simian Mobile Disco and Wolf Eyes are all in fo far to name a few.

EastWest and Fishman Unlock Your Guitar’s Potential

Delivered... Emusician RSS Feed | Scene | Thu 12 Jan 2017 2:29 pm
New line of Virtual Instruments for Guitarists to be Released at Fishman NAMM Booth C-4340

5 things you should know about Kraftwerk – Red Bull

Delivered... "Indian Electronic Music" - Google News | Scene | Thu 12 Jan 2017 7:15 am

Red Bull

5 things you should know about Kraftwerk
Red Bull
Exploring the Indian electronic music scene. Nikhil Chinapa views India's electronica landscape and illustrates it with an exclusive playlist. 16.12.2014 · Music. Watch Sarathy Korwar's cosmic live session. The US-born, India-raised, UK-based jazz ...

and more »

5 things you should know about Kraftwerk – Red Bull

Delivered... "Indian Electronic Music" - Google News | Scene | Thu 12 Jan 2017 7:15 am

Red Bull

5 things you should know about Kraftwerk
Red Bull
Kraftwerk invade Detroit. What could the electronic music pioneers and Motor City's techno heritage possibly have in common? 14.05.2013. Music. Exploring the Indian electronic music scene. Nikhil Chinapa views India's electronica landscape and ...

Next Page »
TunePlus Wordpress Theme