Glancing around the sold-out show at last weeks 100 Gecs concert felt like navigating the Mean Girls lunchroomjust as many jocks as there were art gays, as many stumbling fraternity drunks as there were storebrand Addams Family characters. Nonetheless, the lot of us made the trek out to The Depot in the brittle October evening for a showcase from the one group that can balance silliness, sincerity, experimentation and pop flair enough to bind these contrasting strains of music fandom together.

The night began with a brief, explosive set from up-and-coming artist Aaron Cartier, fresh off the release of their acclaimed (in my circles, at least) trio of 2021 releases, chains, SMILE SEASON and MELHOR CACHORROthe last of which was a collaboration with Baby Izo and 100 Gecs Dylan Brady. Cartier ran through a dozen-plus tunes in their ~20-minute set, screaming out woes over money, the music industry and more over a set of noisy beats that traversed video game samples, trance breakdowns, and hyper-hip-hop fusions. Cartiers genre-omnivorous pop experimentations feel like an obvious choice to set the stage for Gecs, and the artists livewire energy instilled an eagerness in the Depot crowd for the headlining act.

This anticipation may have waned for some, as Cartiers set was followed by a notably extensive gap while 100 Gecs set up, sound checked, sound checked again, and again, and again. Marred by obvious technical and sound issues, the beloved Gecs werent able to take the stage until well after 9:30. Even then, the duo seemed to be running somewhat blindLaura Les even quoted Bill OReillys infamous Well do it live tirade at one point.

Despite these hangups, the duo were still able to deliver a spitfire set that solidified them as one of the most exciting and adventurous groups in modern music. 100 Gecs littered their performance with most of the tracks from their breakout debut record, 1000 Gecs. Arriving second in the setlist, fan favorite Stupid Horse drove the crowd into spiraling madness, with limbs, glasses and pocket paraphernalia flying in all manner of direction under the tracks hyper-ska beat. The already balladic gecgecgec was given an acoustic treatment, further highlighting the tracks innate sentimentality.

The 1000 Gecs hit parade saw a few intermittent snatches from the groups much-much-much-anticipated sophomore record, 10000 Gecs, worked into the setlist. These ranged from the explosive synthesizers of Hollywood Baby to the comical, almost novelty-esque clunk of Whats That Smell? Even in this live setting, the unreleased offerings signaled the further development of 100 Gecs into their niche (though often imitated) sound world. These hyperpop hysterics may have filtered out into hundreds of artists and scenes, but theres something novel in how Brady and Les imbue these admittedly silly sounds with a host of pathos and empathy.

Perhaps most rewarding about 100 Gecs set was the combined performative prowess showcased by Brady and Les. Save for the acoustic gecgecgec, the duo performed front-and-center to a backing track in full pop-diva bombast. The start of each track was punctured with a grunt of Lets get this shit! from Brady before the duo traipsed around the stage with equal measures of suaveness, awkward sarcasm and beatdown brutalism. Even in their apparent unease at the shows technical misfires, 100 Gecs made their stature clearthey own this music, and stand in full confidence over the uneasy 180s and mismatched layers of their songs.

Despite the lengthy mid-evening gap, Gecs were still able to deliver a full-feeling set that electrified their diverse fanbase. The olds ones sounded great, the new ones (perhaps) even betterall thats left to do is patiently await the 2022 release of 10000 Gecs and hope this isnt the last time this devious pair of wizards graces a Salt Lake City stage.

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100 Gecs @ The Depot 10.15 w/ Aaron Cartier SLUG Magazine - SLUG Magazine

Above & Beyond share their Deep Mix of Almost Home, their most recent single and first joint effort in over four years with long-time collaborator Justine Suissa.

Almost Home was Above & Beyonds first club track of 2021, arriving just in time for their Group Therapy 450 milestone show at The Drumsheds London in early September. The trio premiered their deep mix of Almost Home in their warm-up set for Group Therapy 450, recorded in Hackney Canal, London. Group Therapy 450 was Above & Beyonds first headline show in over a year, with the band performing to 10,000 fans in person, plus tens of thousands more online. Both sets have been uploaded to YouTube, racking up nearly a million views in less than a month.

Jono, Tony, Paavo, and Justine have been working together since 2000 when they formed the group OceanLab. In 2008, they released their first and only album Sirens Of The Sea, a record that has gained near-mythical status among trance fans. More recently, Above & Beyond and Justine have collaborated on club hits like Alright Now, Cold Feet and Another Chance, and emotive, downtempo records like Little Something. In 2016, Justine joined Above & Beyond during their sell-out Acoustic II tour, which stopped at iconic venues like the Royal Albert Hall in London and The Hollywood Bowl in Los Angeles.

The Original Mix of Almost Home has been on frequent rotation across SiriusXM BPM and iHeart Evolution, and has been supported by the likes of The Chainsmokers, Armin van Buuren, and Oliver Heldens.

Almost Home (Above & Beyond Deep Mix) is out now on Anjunabeats. Above & Beyond embark on their Anjunafamily Reunion Tour this autumn, visiting Red Rocks Amphitheatre for two sold-out shows, the world-famous Echostage in D.C, and more.

Listen to the tracks below.

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Above & Beyond share Deep Mix of their most recent single 'Almost Home' - Rave Jungle

So while the world of music continues to expand, who are the people making the rise with it? The answer is simple: the power belongs to individuals capable of shifting and influencing the public opinion. Capitalizing on this shift is Mexico-born DJ Xquizit's star was quickly rising within the Trance scene. He has already started shaping his future and built a name for himself.

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Only a teenager, Xquizit has done work far in a short span of time. In fact, he already holds the keys to his own empire. When the stars align, some very unlikely things happen and sometimes those end up being life changing events. With several plays on major radio shows such as Global Therapy with Above & Beyond, A State of Trance by Armin Van Buuren, and several others, you would expect DJ Xquizit to stick to that niche.

DJ Xquizit shares that Best part of being a Dj is probably seeing the joy that music brings to people. But all this didn't happen until a mutual friend introduced him to Salt Lake City-born OSITO. By saying that OSITO's tagline is "Pop Is Not A Crime", you would think that these two artists couldn't be more polar opposites. But magic seemed to happen. Collaboration after collaboration started getting picked up by some massive Spotify editorials, including their first 1 million stream hit "Dear Gravity" which stayed in the Mint playlist for over a month.

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A curious blend of passion and ambition fuels DJ Xquizits busy lifestyle. His background illustrates just how passionate and talented he is. Seemingly living on a fasttrack, hes grown up knowing how to bring eye-catching music to the table while still being attentive to detail and drawing some serious attention.

Story continues

In recent months their first pop collaboration also reached the 1 million mark as well. Now that Xquizit is embracing the pop sound fully, May 28th marks the release of their newest collaboration, "No Time To Die".

Respecting the elements of the original but taking it much more in a dancefloor direction, this synthwave/pop hybird starts with OSITO's amazing voice and quickly builds to the main drop where you can't help but smile and dance.

Releasing on Beat Recordings, the record label behind the only full-time Dance Contemporary radio station in Mexico, Beat 100.9FM, on all platforms on May 28, 2021.

In a digital age of uncertainty, DJ Xquizit is not only rebranding his Trance music, hes rebranding music culture as we once knew it. Only time will be able to tell us what to expect of the future of Trance music. And whatever that future may hold, expect to see DJ Xquizit at the forefront of it.

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Who is DJ Xquizit? Inside With the Musical Artist That's Rocking the World of Trance Music - Yahoo India News

by: Josh StewartMay 26, 2021

Melbournes Mha Iri returns to UMEKs 1605 with her Angels Cry EP, a genre-melting whizzer that further demonstrates why the techno producer from down under remains on the rise.

Mha Iri strays from the conventional in concocting Angels Cry, infusing her latest clubbing cocktail with a vibrantly uplifting build and garnishing it with a delectable trance inspired lead synth. Like many great techno releases, Angels Cry is poised to dominate the dark and dank nightclub cellars of the world, but where Iris newest single really separates her from the pack is in how it doubles as a fully certified arena-ready anthem. Commenting on the creative process behind the release, she says,

I made the track based on the concept when the angels cry, their tears fill up the sky. The mood reflectsmyemotions in dealing with the long lockdown and has a moody yet uplifting feeling to it. The main melody is the Ableton stock synth Analog doubled up on an instrument rack with different manipulation on each wavetable to create a simple yet full andeffectivelead.

Join Mha Iri at Melbournes New Guernica on June 13, where the rising techno titan will be throwing down a three-hour set to celebrate the full release of the Angels Cry EP. Listen to a premiere of the EPs lead single below, and pre-save the entire release before it hits the streets in full on May 28.

Featured image: Press

Tags: 1605, angels cry, mha iri, premiere, umek

Categories: Music

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Premiere: Mha Iri parts the sky with trance inspired techno heater, 'Angels Cry' - Dancing Astronaut - Dancing Astronaut

Chris Evert was full of admiration for reigning French Open champion Iga Swiatek and believes she is capable of defending her title.

Whilst admitting that the Pole is not yet the finished article, Evert believes she is improving with every match she plays on the surface.

She has won the French Open, she has won one Grand Slam on clay and she certainly is getting better and better, said the 18-time Grand Slam champion.

I think she is still not 100% there, I think she is still learning the tricks and learning the finesse, learning about the sliding. I still think she is in the learning position.

Iga hasnt had enough experience to be considered unbeatable or a true clay court player but she is getting better and better with every tournament.

Discussing her impressive performance at the French Open last year, the American admitted she was shocked by just how good Swiatek played.

I was in a trance watching her at the French Open, beating everyone in her path from Simona Halep onwards and I was like who is this young lady? How did she get so good so fast? said Evert.

The seven-time French Open champion thinks Swiatek could go all the way and successfully defend her title at Roland Garros next month.

Most certainly [she can win again]. If results prove themselves then yes, she has done well these past few tournaments.

I think she probably felt pressure after the French Open in a few matches and lost her way a bit but she has gotten that confidence back.

Right after she won it last year she said Im not satisfied with one Grand Slam, I want to keep on winning many more not many champions say that, not many people who win Grand Slams say that.

She never gets down on herself, thats a championship trait. She never panics when she is losing, she always believes in herself when she is behind thats an intangible quality to have, the mental side of the game that is so underrated but it can pull you through.

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'I was in a trance watching Swiatek at the French Open,' says Chris Evert - Tennishead

Electronic dance music, also called just electronic dance music, party music, or just dancing music, is an expansive collection of percussive, electronic sound tracks designed primarily for clubs, raves, and parties. Dubbed the new school of electronic music because it was born from a mindset associated with the roots of modern club culture house, trance, techno, breakcore, and hip hop electronic dance music continues to evolve and grow into todays club scene. Despite this, it still retains a fairly large underground following in contrast to, say, rap and hip hop that have very steep popularity drops. This article aims to discuss electronic dance music from a mainstream perspective to provide a broad view of the genre and analyze its influence on the club scene today.

Electronic dance music often has a heavy, distorted, dubstep-type vibe. The reason for this is obvious take a listen to some modern day DJs and youll hear the same underlying structure and basic elements repeated over again. Although the producer may alter the tempo, tone, and tempo variations, the core elements will remain. Most likely, the producer uses reverb, delay, and distortion on the main loop of the track, as well as adding other subtle effects. A popular form of distortion is the reverse heard in hip hop and breakcore. Other common electronic dance music effects are compression, octave division, compression, limiting, fades, and tremolo.

While electronic dance music was once considered to be rather out there, it is now widely accepted and produced by many mainstream dance producers. However, its main focus is typically on drum machines and samplers, as well as having more experimental tendencies. In recent years, dance artists have been drawn to this genre due to the growth of non-mainstream dance styles.

One of the most recognizable characteristic of electronic dance music is the use of samplers, which play back a sequence of audio on a piano or other electronic instrument. In fact, this very feature is what separates electronic dance from other forms of popular music. For example, rock songs generally only use drum samples. Dance samples are common in electronic dance music. Sampling and playing back a sequence of audio is often done with the use of audio manipulation programs. In electronic dance music this can include things such as pitch shifting, playing with time, and other manipulatives that produce completely new sounds.

One of the biggest influences of electronic dance music is drum programming. Originating in the early 1980s, drum programming has grown into one of the largest and most influential trends in electronic dance music. Programmers like tracker, techno, ambient, and even breakcore have all used this method to create unique sounds. While these programs were originally created to provide musical inspiration and build drum sets, they have now become integral parts of electronic dance tracks.

Many modern producers use complex programs in their electronic dance music. Programs such as Massive City, Prodigy, and others have helped to push the limits of electronic dance music. The sounds created by these programs are usually raw and unpolished. They often involve complex sampling techniques and other processing that can create some truly unique sounds.

One of the biggest characteristics of electronic dance tracks is the use of reverb. Reverb is often used to add atmosphere to a track. It can add depth and dimension to a mix, making it sound as though the listener is traveling through space or has inside the track. This is particularly useful for creating funk. Many modern producers who specialize in creating funk tracks will often employ a powerful and aggressive reverb pedal.

One of the newest features introduced to electronic dance music is the ability to mix and match drum beats. Using drum samples from another source, the lead and support vocals can be added to a song. This technique is commonly referred to as synthrap. The use of this technique is on the rise, as many producers attempt to differentiate their music from traditional dance tracks.

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Electronic Dance Music - What's All The Fuss About? - One EDM

One thing I knew as an aspiring writer was that I was supposed to sit in front of a page for more than 10 minutes. I could not. I had grown up in Colombia during a violent time in the countrys history; my family and I had fled, but I suffered from PTSD. Fear had worked its way under my skin. I wrote a sentence, then questioned whether my surroundings were safe. I got up to check the locks, turn every available light on. The writing came a sentence at a time, but I could hardly finish anything. Even so, I loved writing and longed to do it in spite of personal distress.

First, I tried imagining myself as a cranky office manager. I monitored data. I clocked in and out with timecards. I created pie charts to track my time and the time it took to track my time. I drew elaborate graphs where Y measured the rise and fall of quality pages and X stood for possible culprits starches, desk locations, prying eyes, news consumption, anxiety.

The data did not bring me closer to the state of mind I had identified as the most conducive for writing: a floating between presence and absence, a sense of stillness, awareness and listening.

Reflecting on that ideal mental state, I thought of mesmerism, the precursor to hypnosis, conceived in the 1770s by the German physician Franz Anton Mesmer. One school of his followers favored the somnambulistic trance, instigated by a choreography of visuals and touch. I began to wonder whether such trances could be of use to me, whether they would induce that floating sensation I needed in order to quiet the disturbances of trauma and dedicate myself to writing. And so I began to develop a ritual a way of hypnotizing myself.

This love of ritual has metastasized into a way of life. There is an order to the cups I pull from the kitchen cupboard, a sameness to how I daily prepare what I ingest, five steps to my morning skin-care routine, four steps at night. Once, upon finishing the work of knitting a six-foot blanket, I immediately unspooled it, then reknit the thing.

It began with a color, a muted ultramarine blue that is warmer than navy and bright like royal blue. I found it while scanning the racks for a slip in a hue I did not much wear, one I intended to wear exclusively for writing. Each day, in preparation for my work, I put on the slip and actively imagined for 10 minutes that the color was a place in which intrusive thoughts might not enter. Then I forced myself to sit and write. When I wore the slip, I felt overtaken on a cellular level by a serene form of concentration. Under the spell of chromatic conditioning, I began to accumulate pages and finish my projects.

Over the 13 years Ive dedicated myself to the somnambulistic trance, Ive collected a number of outfits silk slips, slinky tops, linen shorts, acrylic sweaters all in muted ultramarine. At this point, I can no more resist wearing the color and sitting down to write than I can keep myself from taking a breath after an exhale. This mesmerism quiets my mind via an onslaught of repetition. The longer the repetition goes on, the stronger its mesmeric force.

My ritual for self-mesmerism has grown more elaborate over the years. On my designated writing days, I plod to the closet and pick out something in that muted ultramarine, after which I pick a song to play on repeat. It will loop for the next hour (or sometimes the rest of the day). There is always an initial moment of claustrophobia, but the looping music encourages a trance. The operational chatter of my mind grows quiet before it grinds to a halt. I transition into the territory of concentration. I dont have to think about what I will do next: After doing it thousands of times, Ive turned writing into muscle memory.

The best music for self-mesmerism is the kind that embraces repeating and minimally evolving phrases Kali Malone, Caterina Barbieri, Ben Vida and William Basinski are artists I turn to with frequency. They are demanding, beautiful, blisteringly austere. Past the initial weariness of sonic repetition, I experience self-dissolution. I stop hearing the song. It becomes a series of staticky sonic impressions.

At a glance, repetition may look like invariability. But repeated listenings of a song are never identical: Differences emerge out of the drone of a routinized task. A glass may slip, the water I splash myself with may be colder or hotter than I expect. I knit the stitches of my blanket tightly, then loose. The sameness of repetition is never the point. It is a daily door I step through, on the other side of which I am emptied and am filled with something better. I leave the familiar behind to embrace what is unfamiliar and mysterious. No matter what is happening in my life, choosing repetition lets me deliver myself to the moment at hand.

Before self-mesmerism, trauma was something that exiled me from the present, causing me to revisit horrific events. It eroded my perception, until I came to believe that long-gone dangers were extant in the middle of my peaceful everyday. Repetition is how I shed skins of anxiety. The highest abundance I know comes from stripping myself to the minimum. There, I am boundless, timeless and surprising, a magnificent condensation of life.

Ingrid Rojas Contreras is the author of Fruit of the Drunken Tree (Doubleday, 2018). The Man Who Could Move Clouds, a family memoir, is forthcoming from Doubleday.

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This Centuries-Old Trick Will Unlock Your Productivity - The New York Times

Tisto hit The Business made huge waves upon its release last year, and the buzz hasnt quietened down since. The house anthem produced by the world-renowned artist was born already a success, having wowed fans from the first time the trance master shared it. The Business marked Tisto signing to Atlantic Records and presented us with a musicality quite different from the usual, showing versatility and quality that works both on the radio and on a festival stage. Around the globe, there probably isnt a single soul who hasnt heard this charismatic track. Viral, catchy, brilliant. Tisto does not mess around and shows once again his skills as a maestro in The Business. It wasnt enough that he released a smash hit of this magnitude, Tisto went one step further and teamed up with Ty Dolla $ign to produce the second chapter of this thrilling journey, The Business Part II. It was another bombastic hit.

In March, the music veteran challenged his fans to create their own version of both gems. In partnership with Beatport, Atlantic Records, and Label Radar, Tisto opened a competition that would allow the winner to officially release the track on Atlantic Records, a featured spot on his Club Life radio show and more than $7,000 in prizes. Many were the ones who didnt want to miss this chance, but only one won. Sparkee was the big winner of the contest and the latest remixer of this brilliant track.

Who is he? Sparkee is an award-nominated music producer and guitarist from the east coast of Canada. His sound is classically modern, highly influenced by artists such as Daft Punk, Chromeo, or Nile Rodgers. Lover of nu disco and passionate about funky rhythms, Sparkee designs electronic music meticulously and accurately. He remixed Deadmau5s Strobe and the track went viral. On top of that, Deadmau5 comment that the bassline was technically impossible. Now, his remix of The Business is the talk of the town. Sparkees version was released on Atlantic Records at the end of April and has since amassed over 900,000 streams. On how it all came about, the Canadian artist explains:

I saw that Label Radar was hosting a remix contest for The Business by Tisto and I reallywanted to put my spin on it. I already loved the original track but it was also a hugeopportunity. I went with a bit of a retro vibe and added my funky guitar style to it whichseemed to work out pretty well because I was selected as the winner out of 3500+submissions! In addition to being released on Atlantic Records, I won a slew of prizes that Im absolutely stoked about. This is literally a dream come true!

The remix is a funky version of Tistos track. Keeping the backbone of the hit tune, Sparkee adorned the music with soul and groove. The beat is warm and laid back, very much in the genre of more classic house, in its disco offspring. Provoking a relaxed and enjoyable jam, the remix spreads light and sunny energy, perfect to enjoy on hot days. Sparkee has managed to deliver a cool rendition of The Business, literally. This track is part of a remix compilation that includes renditions by Clean Bandit, 220 KID, Vintage Culture & Dubdogz, and SWACQ.

Winning this contest wasnt Sparkees only ambition for 2021. Challenging himself on every level, he set out to release a new remix every single week in a defiant 52-week remix challenge. The track creation process is streamed live on Twitch every Thursday night to share his methodology with his legion of fans. His remix of The Business is just one of the tracks in this challenge and its worth checking out the others. To do so, just follow Sparkee on his social networks, such as Twitch.

Listen to Sparkee getting down to business on this remix of Tistos The Business below:

Image Credit: Sparkee (Press)

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Sparkee wins Tisto remix contest with a funky version of 'The Business' - We Rave You

The one way to get a listeners attention is by breaking the mold. With so much music available to us on demand, its the producers that carve our their own unique sound that really end up catching our ear.

Between constant digging through playlists and sorting through submissions, we listen toa LOTof music, but there are a select few artists out there who simply dont sound like anybody else. These bopsmiths have been changing the game since they stepped foot in the scene, and we keep finding ourselves coming back to their work as a sort of musical palette cleansera breathe of fresh air in a landscape that can be saturated with formulaic strategies.

We thought long and hard about which producers are currently pioneering unparalleled approaches to their sound, and have narrowed it down to a list of twenty artists that you need to have on your radar.

So if youre looking for a change, here is our list of 20 cutting-edge producers who really dont sound like anyone else.

The reason why SOPHIE is starting off this list is that she transcended electronic music. When you think of producers who have reached legendary status and influenced this whole generation of experimental sound design, SOPHIE is the first person most people think of. When she tragically passed away earlier this year the entire music industry felt it. Some even said SOPHIE had a Dilla-like effect on electronic music. Wed have to agree.

This critically-acclaimed rapper/producer has been setting the bar high for beatmakers since the 90s. Throughout his career, he moved from rap beats to jazz-electronic, and recently even collaborated with Four Tet on his latest project, Sound Ancestors.Whether hes Madlib, Quasimoto, or the Mad in Madvillain, Otis Jackson Jr. remains untouched in the game.

Theres a reason why the reclusive South Londoner is so sought after, even over a decade since his last full length body of work. When it comes to innovative, state-of-the-art electronic music, Burial is always one of the first artists that comes to mind. His creative tendrils stretch across the vast spectrum of subgenres, so theres no true way to define his work. Just take a listen to one of his most recent singles, Chemz, below.

People might know Lunice as one-half of TNGHT, but his career trajectory has been insane since the beginning. Hed been producing for about 12 years before founding the electronic duo with HudMo, and becoming one of the most sought-after artists in the industry. Incorporating eccentric sound selection in his design, hes able to give a fresh take on hip-hop and electronic traps normally simplistic cadence.

Theres nobody who gets your spine tingling quite like Four Tet. The musical wizard has somehow been ahead of the game for over two decades, amassing eleven different studio albums (and more under different aliases). Whether hes creating rich, ambient soundscapes or driving house and techno rhythms, hes putting us in a trance. We love when he combines those two approaches into one, like he did on LA Trance.

Whether he likes it or not, Aphex Twin is widely known to be associated with the budding subgenre of IDM. And for exactly the reasons youd assume. Most electronic music can be pretty formulaic, but Aphex Twins unpredictable, left-field composition speaks volumes for itself.

Vegyn has been one of our absolute favorite recent discoveries. The British producer seems to break every single rule when it comes to music, but gets away with it 100% of the time. Little did we know that Vegyns talents were enlisted by the likes of Frank Ocean on both his Blond and Endless projects back in 2016. We wont even try to classify his sound, but think about floating around in a bubble while at an interdimensional nightclub. Hmmm yeah.

Kelly Lee Owens burst onto the scene with our self titled debut album in 2017, but last year she sank her teeth into us with her immaculate sophomore album, Inner Song. While her dreamy and spooky production is something to behold on its own, it reaches new heights when she gets to crooning.

Now that our boy Sammy G has stepped foot into the indie electronic realm, the scope of his music has widened immensely. No matter what genre he makes, Sam Gellaitry is one of the few people who can create full-body listening experiences through his emotion-packed production and visual-inducing storytelling.

If youve been seeing this producers name tossed around as of recently, its for good reason. Her most recent body of work, Youve Got The Whole Night To Go, covers a broad scope of club music, from acid-laced breakbeats to thick, minimal groovers. The young talent has made her way to Berlin, via Sydney, two locations that thrive off of innovation, and were constantly waiting to see what she does next.

While weve already hailed Of The Trees for his boundary-pushing efforts this year, we cant say enough about the newly Denver-based producer. His recent work completely transports us to a different place, combining mystical melodies with ridiculously satisfying low-end sound design.

The underground music scene in Melbourne, Australia proudly boasts Roza Terenzi as of leading artists to come out of the thriving city. She now resides in Berlin, but has retained her Aussie swagger in her music, creating some of the dustiest, rawest techno and electro bangers you could possibly imagine and releasing on her new label, Step Ball Chain. Roza breaks all the rules when it comes to typical song structure, with a single track feeling like its made up of several different ideas all mashed into one, cohesive work of art.

The Godfather of future knock. DECAP created this subgenre of trap to showcase funky, jazzy elements over hard-hitting drums and rap beats. The sound doesnt take itself too seriously and if you watch his Twitch streams, neither does DECAP. But you can always count on them for a fun time.

Although Cashmere Cat was able to make a clean crossover to the mainstream and become a frequent collaborator of pop stars like Ariana Grande, theres no doubt that Cashmere Cat has one of the most distinctive styles out there. We could even say hes one of the main game players in pushing kawaii bounce into popularity.

The duo has been bringing something new to the trap table since 2015, incorporating elements of jungle, breaks, dubstep, and really any electronic genre you can think of, into their music. While many try, the group is able to nail that bombastic yet brooding sound that really shakes you to your core. If you want to get an idea of X&Gs versatility, their PERSONA album is a great start.

If you want to take a trip to the deepest, darkest, and dankest corners of techno, take VTSSs hand let her show you the way. Hailing from Warsaw, Poland, this quickly rising artist is on a tear right now, and some of her recent releases have been brutally tantalizing. This music is designed to pluck at your senses.

Ivy Lab is the blueprint for experimental electronic music. Any genre of music you can think of can be found in their tracks and the duo is able to execute it immaculately. We really cant think of anyone else who can do something like mix soul and drum and bass together, but Ivy Lab delivers. Always paving their own path, they have a record label called 20/20 LDN where you can find even more forward-thinking music.

New Sable Valley signee Deadcrow has been making huge waves in the community. As a power player in officiating the subgenre of wave, Deadcrows atmospheric yet heavy-hitting sound engages you from start to finish.

Old school ravers will often get nostalgic about the sound of the 90s, but nobody channels that drug-fueled euphoria better than this Leeds-born duo. In an interview with Mixmag, Prospa said they wanted to be among the UK greats like The Prodigy. Theyre certainly on their way.

With each and every Rome In Silver release, it becomes clear that there is nothing he cant do. Progressing from trap bootlegs to solidifying his spot in future bass, Rome In Silver now just drops whatever he wants and its somehow always perfect. While he cant be pigeonholed into one genre, you cant miss his distinguishable ethereal melodies.

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20 Cutting-Edge Producers Who Really Dont Sound Like Anybody Else - This Song is Sick

"Marooned Musical," an excerpt from a collaboration between late trumpeter Keith Johnson and painter George D. Green.

"Marooned musical," Keith Johnson and George D. Green.

Register-Guard

Oregon native and trumpeterKeith Johnson, who died of cancer,leaves behind a musical legacy as a jazz mentor and longtime sideman playing with musicians such as Paul Butterfield, Martha Velez, Etta James and Van Morrison.

Born in Vancouver, British ColumbiaJohnson found love in jazz, art and life with his companion, Annie Painter. He diedApril 6 in Portland. He was 80.

Thanks to Johnson's influence, Jeff Young, owner and producer ofHands Down Soundrecording studio in Portland, developed a lifelong love of jazz.

Johnson was the DJ for a jazz show on KFMY, Eugene's first FM radio stationfounded by Young's father in 1958, according to Young. When Johnson left to start his professional music career, Young was obligated to take over the show. Young had the youthful Eugene jazz manto show him the way.

That was the beginning of my jazz-loving era, Young said. I've loved jazz ever since. I'm indebted to Keith for getting me turned on (to jazz).

Johnson and Painter married in 1961while attendingthe University of Oregon. They lived a settled life for 10 years before he landed a gig with the Paul Butterfield Band. Though it was a boon for Johnson's career, it would lead to the couple splitting soon after as Painter returned to anestablished life while Johnson continued on tour.

I was on the road a little bit, but lives changed, Painter said. I became a school principal and went back home to Eugene.

After her second husband, Bob, died, Painter reconnected with Johnson, Here comes Keith again, 50 years later. Painter flew to L.A. to make amends with Johnson in 2016, and the two hit it off on a lovely, platonic weekend.

It just seemed like perfect timing to get right back to business, Painter said, referring to getting back together.

We had a great five years, I swear. It's a big hole in my life," Painter said about him being gone."But I'm happy Im well-situated in the Northwest in this lovely apartment, forging on, as people do.

Johnson began as a lanky, 6-foot-4-inch-tall jazz aficionado who would hang out at a former record store at 13th Avenue and Alder Streetnear UO, Young said.

My dad was down there and met this young jazz lover who was a trumpet player named Keith Johnson, Young said. He talked him into doing the jazz show on his FM station, and I was just in a trance.

After Johnson landed a gig with Butterfield, though, life took him on the road, leaving behind the radio show. When Youngs dad drafted him into taking over, Johnson and Painter, married at the time, invited Young to their South Willamette Street home to show the young man the ropes.

Keith sat me down and he played three tunes to introduce me to jazz, Young said. Opus de Funk by Horace Silver, 'Wednesday Night Prayer Meeting by Charles Mingus and Swing Low, Sweet Cadillac by Dizzy Gillespie. And that just nailed me.

Soon after joining Butterfield, Johnson started to makehis mark in jazz and blues. According to All Music, Johnson was an imposing musical presence who played trumpet and keyboards, but not well-known outside of jazz circles. In 1967, though, he brought a jazzier element to a reconstituted Paul Butterfield Blues Band, playing with them in front of 50,000 people at the Monterey International Pop Festival in California.

Johnsonleft the group in 1970 to make a living as a roving sideman. Over the years, he played with Elephant's Memory, on Mark "Moogy" Klingman'sfirst solo album "Moogy," Van Morrison's His Band and the Street Choir, Martha Velez's Hypnotized and as the musical director for Etta Jamesin her L.A. studio and on the road.

Like many sidemen and artists before him, though, the money did not follow the plaudits and renown.

He talked to me about the odd jobs he had to take to pay the rent, Painter said. Here he was working with the most famous musicians in the whole world in amazing places, but he couldn't pay the rent.

Part of this was fate and self-fortune. After leaving Etta James, the woman became a legend, making up to $50,000 a night for an appearance.

He said, 'Damn, you know, I should have kept my mettle. I was temp-of-the-month for balloons, a cup of coffee and a doughnut,' Painter said.

Slowing down as the years passed, the reconnected couple found peace in each others company.

At 80, being teenagers in love, we basically were interested in being together, Painter said. We both said, Well, why don't we relax and enjoy each other?'

Thatdidnt mean Johnson was over creating music. Settling in northwest Portland, Johnson discovered well-knownabstract illusionist painter George D. Green, whom hed enjoyed at a Lake Oswego exhibit, lived right down the road.

When they met, Green said, "You are my hero,"Painter recalled.

Turns out, Green saw Johnson play in a place calledThe Abyss,a short-lived college venue in a Eugene basement.

George said, 'When my friends and I would come back from San Francisco, they would say, Keiths gonnaplay tonight, and hes got some new licks.

Johnson would go on to write music soundtracks for severalGreenpaintings. The suites (one of which, Marooned Musical, is available on YouTube) are a strange, hypnotic blend, emblematic of a man satisfied with his journey, looking to give just a little more beauty back to the world.

He was just a precious guy with a wonderful optimistic spirit, a lot of talent and full of war stories, Painter said.

At the end, Johnson accepted life and death with an equanimity indicative of a melodious life. Speaking to a friend just days before he died, Johnson knew he would beleaving the world soon.

But he said, Hey, man, what are you going to do? This is what happens, Painter said. I thought, bless his heart. I hope we can all be that way.

Follow Matt on Instagram @CAFE_541. Questions or comments? Email him mdenis@registerguard.com.Want more stories like this?Subscribeto get unlimited access and support local journalism.

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Hilma af Klint was an early 20th century Swedish painter and spiritualist who began creating radically abstract paintings in the early 1900s, long before the likes of Vasily Kandinsky and Piet Mondrian embarked on their efforts. Her body of work has only recently begun to receive serious attention, culminating in a Guggenheim 2018-19 exhibition, Hilma af Klint: Paintings for the Future. It was the first solo exhibition of af Klint in the United States and became the most-visited exhibition in the museums history, bringing in more than 600,000 visitors and leading the Guggenheim to extend it multiple times.

Af Klint requested her paintings not be shown until at least 20 years after her death, saying she felt the world wasnt ready for her work. And it wasnt, not only because she was a woman painting in a style that was yet to be considered true art but also because of the way she received the paintings: After working as a medium for 10 years with a close group of women friends, she received a commission from her spiritual guides to create a radical and unprecedented group of paintings.

For Jackie Tileston, an associate professor in the Department of Fine Arts in the Stuart Weitzman School of Design, the exhibition inspired her to design a seminar using af Klints work as a jumping off point to examine the ways in which mystical and alternative forms of knowledge have fed artistic practices, both in the past and for contemporary artists in cultures around the globe.

The idea became Mystics and Visionaries: Art and Other Ways of Knowing, a fine arts seminar she taught during the spring semester.

I'm using Hilma as a hub out of which we explore artists who work with other modalities, other ways of creating, other ways of working with imagination, intuition, and inspiration, she says. Some of those approaches are not normally part of what we do in academia and are often not taken seriously as a form of research. I felt like it was important to create an intellectual space where we could have these conversations.

The seminar involved a wide range of readings, lectures, discussions, projects, and experiential exercises with visiting lecturers from neuroscience, religious studies, and positive psychology. They studied contemporary artists influenced by Eastern philosophies to Tantra paintings and Tibetan sand mandalas to Carl Jungs Red Book, in which the psychoanalyst explored the unconscious mind in a massive tome of his own art, calligraphy, and writings, which wasnt published until 2009.

One of the hidden blessings of the pandemic is that everythings on Zoom, which allowed me to invite guests from farther afield than in a typical year and to share those guests with the Penn community, says Tileston. This moment allows us to be generous and inclusive in a way that we normally couldnt.

Visiting virtual guests included Corine Sombrun, who Zoomed in from her home in France. She is the first Western woman fully trained in the Mongolian shamanic tradition, and along with psychologist/dream worker Nadine Kreisberger she discussed the intersection of trance, neuroscience, and psychology and the latest research and explorations around the potential of cognitive trance for wellbeing and creativity.

We are using art as a lens to look at how various states of consciousness can contribute to creativity and our perceptions of reality, Tileston says.

Tileston also teamed with Penns SNF Paideia Program to make two of the seminars visiting guest lectures public for the wider community. Those included Other Ways of Knowing: At the Intersection of Neuroscience and the Mystical, a conversation between neuroscientist Andrew Newberg and Justin McDaniel, undergraduate chair of religious studies, and Other Ways of Knowing: The Listening Project, a presentation on by Ernesto Pujol, a site-specific performance artist, social choreographer, and Sachs Professor in Fine Arts, in conversation with music professor Carol Muller.

The SNF Paideia Program believes that dialogue is crucial to higher education and to democracy. Listening seems like it might be the easiest part of engaging in dialogue across difference. In fact, deep and active listening is more demanding than we suppose, says Leah Anderson, executive director of the SNF Paideia Program. These lectures, which explored the art and science of listening, exposed some profound opportunities and challenges we face as we seek to truly hear from and engage with others in robust and meaningful dialogue.

Tileston sees the course as inspired by and an extension of initiatives like the Penn Integrates Knowledge effort, which recruits professors whose work draws from two or more academic disciplines and whose achievements demonstrate an ability to thrive at the intersection of multiple fields.

The fine arts are really a place where thats happening all the time, she says. One of the things that Ive always loved about the arts is how radically inclusive they are: politically, socially, intellectually. There's literally no field of study, or thought, or experience that cant be integrated into an art practice.

Even af Klint herself considered the work she was doing to be research, Tileston says. The seminar was open to both undergraduates and graduates and, although about half of the students enrolled were a combination of MFA students and art and design majors, the rest ranged from physics and Wharton students to computer science and engineering majors. In preparation for the class, she assigned a viewing of neuroscientist David Eaglemans talk on Possibilianism.

They all shared an open mindedness and curiosity, she says. Theyre coming in as true agnostics, just being curious about what the possibilities are of how we think and perceive and experience the world and how that can enable us to be better citizens of the planet, better creators, better thinkers, says Tileston.

Tina (Zetong) Jia, who just graduated with a degree in engineering and computer science, decided to take the class after her roommate told her how much the course in 2019 had changed her perspective on the world.

Jia, who is from a small city just outside Beijing, says so many of her previous classes at Penn were logic-based due to her majors, but since it was her last semester at Penn she wanted to branch out and explore something new.

I was very much a skeptic, but I was interested to see how the class might shift my perspective, she says. I didnt know what to expect other than that it would be something completely out of my comfort zone.

She assumed she would be an outsider just observing the class, but after a few sessions she realized she was gradually changing the way she thought about the topics.

I had shut the door to accepting things like this, but I realize I need to be more open to possibilities and also realize the world is a lot more complex, she says.

She says she began to see these types of mystical experiences as a spectrum, where on one end is something very intense, like af Klints visions, and on the other end is something like a person getting in the zone, doing something they enjoy, being in the flow, and losing track of time.

If you change your perspective and change the way that you interpret things and allow yourself to be more open to these kinds of experiences, maybe you can move toward the other end of the spectrum, she says. Maybe if everyone had these kinds of experiences, and people felt more connected to each other, the world would become a better place, she says. The class has encouraged me to keep exploring in this direction and to be more open in general.

He-Myong Woo is a first year MFA student from New York City, whose work in the program focuses on bringing sound and movement together with videos and photos in installations.

He says hed been developing ways of bringing his understanding of spirituality better into his art practice, and the seminar opened new ways of seeing that helped deepen and clarify his own experiences.

Both he and Jia say the course discussions were amazing and the allotted three hours never seemed like enough.

I dont know if there is another class like this, especially in such a well-known research institution, He-Myong says. But it feels like were coming to a moment when people are more inclined to start to ask questions about spirituality again. Artists in particular are usually at the forefront of thinking about such things, so this class certainly is resonating for this moment.

Two of the courses virtual events can be viewed online on the SNF Paideia Programs YouTube channel, including Other Ways of Knowing: At the Intersection of Neuroscience and the Mystical, and Other Ways of Knowing: The Listening Project.

Mystics and Visionaries: Art and Other Ways of Knowing will be offered this fall (FNAR 240/540-401, Tuesdays 1:45-4:45 p.m.)

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Have You Played? is an endless stream of game retrospectives. One a day, every day, perhaps for all time.

Ive always found that Ben & Jerrys Cookie Dough helps heal a broken heart, but the main character from Sayonara Wild Hearts prefers battling a three-headed wolf robot that spits out spikey yoyos. Whatever works. And, to be fair, it's better that developer Simogo went down this route. A game about a 30-year-old, head first in a bucket of ice cream, probably doesnt have as much appeal to the masses.

Although, auto-runners werent exactly in vogue when this was released. What made this one stand out from the pack was how complete it was as a package. Everyone focuses on the music, and I get it: the 23-track offering is full of wonderful, upbeat pop, wispy shoegazing, and driving trance. Songs flow from one to the next, with any harsh deviations feeling like a deliberate jolt to the listener.

But Ive always seen Sayonara Wild Hearts as more of an elaborate stage show, rather than a tightly-written 60-minute album. The seafoam greens, the trippy blues, the electric pinks: the chosen palette works so well with Simogos penchant for twirling shots and smash zooms. Yes, the music is a huge part of the presentation, but it is exactly that: one part. Everything comes together to create what is a joyous overload on the senses. And you ride a turquoise vomit wave at one point, too, which is also good fun.

For all intents and purposes, this is a score attack game, where you can revisit levels to collect more shiny objects in order to better your score. But, I feel a bit wrong if I cherry pick a stage to play. Like any good musical performance, Sayonara Wild Hearts is one that should always be experienced in full. From start to finish.

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Given the current bleakness all around us, we have every reason to abhor this film on the most evil practice of organized religion that God NEVER invented. Trance, the latest Malayalam film, directed by Anwar Rasheed, to prove Keralas supremacy in powerful ceiling-shattering content and performances is a pioneering achievement, tearing as it does into the innards of fake religiosity where billions of bucks are generated by exploiting the weak and the vulnerable and where faith is forever flogged to death.

With a towering performance by Fahadh Faasil in the lead, Trance sweeps us into a world of depraved exploitation. Parts of the plot are purely pulp. But then what is wrong with pulp when it suits the narratives purposes so well?

The lengthy film of almost 3 hours, begins like a desi Rain Man with Fawads petty motivational-speaker character Viju Prasad looking after his psychologically disturbed suicidal brother(Sreenath Bhasi). It then veers viciously into a brown man's version of Jane Campions Holy Smoke where Viju is trapped into doing a staged (fake) holy miracles.

The exploitation of religious sentiments earlier done half-heartedly in Hindi films like OMG and PK is stripped of all veneer of politeness. What we see is a group of avaricious power brokers setting up con-props for a world hungering for change. The villainous caucus(played by Tamil filmmaker Gautham Menon, Dileesh Pothan, Chemban Vinod Jose) lack finesse in characterization and portrayal. They could be a trio of villains in any film about crime and punishment.

It doesnt take long for us to realize that the campy villains are seen to be part of the larger drama of grotesquerie that the sprawling plot systematically dismantles. Standing at the centre of the diabolic debris is Fahaad Faasil. Magnificently asked and off-beam, he sweeps all the jerkiness in the narration under the carpet making us look not at the faults(albeit glaring) but the larger picture of merchandised religiosity.

Nazriya Nazeem provides some romantic succour to the battered hero very late in the film. She comes in at a time when Viju now transformed to Pastor Joshua Carlton is plunging into the abyss. The last half an hour where the parody pastor must perform a holy miracle to wake up a dead child, reminded me of Dev Anand at the end of Guide.

Some miracles are just not destined to happen. Trance is not one of them.

Image source: IMDb

They say the best things in life are free! Indias favourite music channels 9XM, 9X Jalwa, 9X Jhakaas & 9X Tashan are available Free-To-Air. Make a request for these channels from your Cable, DTH or HITS operator.

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Trance President Akikazu Yamamura stares at product shelves in front of a deserted store in Hachioji, Tokyo, on Jan. 25, 2021. (Mainichi/Yongho Lee)

TOKYO -- With the spread of the novel coronavirus, apparel and souvenir stores in Japan have been suffering a great deal. Since the declaration of the state of emergency in parts of Japan in January, many stores have been operating under shortened hours, but only food service operators can receive the 60,000 yen (about $574) per day "cooperation money."

As the number of customers dwindles, there are calls to "eliminate the payment gap" with dining businesses. "It's like being told to keep diving without breathing," lamented Akikazu Yamamura, 56, president of Trance, which operates clothing stores and other businesses in Tokyo, Saitama and other prefectures.

The station building in Hachioji, Tokyo, where one of his stores is located, has been closing at 8 p.m. since the declaration was issued. As a result, apart from restaurants, retail stores such as apparel and general merchandise shops have also been forced to shorten their hours.

In past years, ladies' suits for ceremonies sold well at Trance from January to February. However, the number of customers visiting the station building plummeted this year, and there was even a day when only one 400-yen (about $3.83) mask was sold, let alone a suit, even after 10 hours of trading.

Yamamura understands the need for people to refrain from going out, saying, "Now is the time to stop the spread of infections," but he is dissatisfied with the compensation system offered by the national government.

While restaurants in the station building are being paid cooperation money, retailers, who are also operating on shortened hours, are not being compensated satisfactorily. In the city, some apparel stores have decided to close their businesses, while some restaurants are undergoing renovations.

It is expected that small- and medium-sized businesses whose sales have been cut to half or less as people refrain from going out will receive subsidies, but the amount is far less than what restaurants and bars have received after several requests for shorter operating hours.

"I wonder how many companies can survive the coronavirus pandemic without compensation. There should be no difference in payouts to companies that have lost sales, regardless of the type of business," Yamamura said.

Some general merchandise stores, which have been serving tourists, also called for the same kind of compensation as dining establishments.

The Sugamo Jizo-dori shopping street in Toshima Ward, Tokyo, which is popular with elderly people, temporarily regained its liveliness last autumn thanks to the "Go To" travel subsidy campaign aimed at reviving the pandemic-hit tourism sector, but the number of visitors has decreased again since the state of emergency declaration was issued in early January.

"Normally, knitted hats sell well around this time, but this year we have had almost no customers. Sales in January are less than half of what they were last year," said Satoshi Kobayashi, 53, who runs a parasol store.

The impact of the voluntary restraint on going out is significant.

"It's the same for all industries that are seeing their sales drop due to the effects of the coronavirus pandemic. If it really is the same, I want compensation to be equal," stressed Kobayashi.

Among those similarly affected are game arcades, which are not receiving cooperation money but have been called upon to shorten their operating hours.

Yasushi Fukamachi, 46, general manager of the operation department of Mikado Game Center in Shinjuku Ward, Tokyo, which is known as a sacred place among game fans, said, "We are close to the limit. I would like to see some kind of compensation, like the cooperation money that restaurants receive."

The company's main arcade, located near JR Takadanobaba Station, used to be open until midnight. The store would start getting crowded with people on their way home from work from shortly after 7 p.m., but after the declaration was issued, it decided to close at 8 p.m. The arcade's income has dropped to about 40% of previous levels.

The store is equipped with about 250 game machines on the first and second floors of the building, and the rent alone reaches several million yen a month. Without monthly sales of more than 10 million yen (about $95,680), it is difficult to run the business. When the previous state of emergency was declared last April, the arcade remained closed until mid-June. At that time, the company managed to make it through with about 37 million yen (some $354,000) donated by fans on the internet, but that money has run out.

"Game arcades may be considered nonurgent and nonessential venues, but I want people to know that there are people who make a living from this work," Fukamachi said.

(Japanese original by Yongho Lee, Machida Resident Bureau, and Toshiaki Uchihashi, City News Department)

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Each Union finances is crucial not as a result of it presents GoIs accounts, and aside from uninteresting make use of, however as a result of its a declaration of how the federal government is managing our, the taxpayers cash. Usually, its aforesaid that alone a veritable little nonage of Indians pays tax. Thats unequaled right for income-tax (I-T). roughly everybody pays oblique tax after they exhaust on expenditure. In India, two-thirds of summate tax aggregation comes from the serpentine incline.

Each Indian should, therefore, care simply concerning the finances, the approaching one is very important. Its the primeval finances in unbiased India that follows such a vivid shortening in development. The concluding time India registered to ostracize yearly development was in 1979, when the financial system was a portion of the sizing its these days and the lessening not as eager. Within the fortune, historic Keynesian economical sapience would anticipate a monetary elaboration. However trance the economic system has healed favorably from the blow of the primary 2 quarters, development parting solely observe marginally particular within the terminal 2 quarters. India necessitates gaining speedy, at allover 8% in 2021-22, honest to riposte to the realm it was earlier Covid-19 had stricken.

Economical development runs on four-spot engines: consumption, investiture, authorities expending, and exports. contempt the grand character of the federal government, the portion of its disbursement inwards the Gross home product (GDP) at about 13% makes it the least heavy of the 4. (consumption is by far the most important at throughout 55% of GDP.) Can the smallest, and arguably least ingenious, engine observe the height driver of speedy development? Within the primeval 2 quarters, when the lockdown was in energy in variable levels, and assurance at wobble meadow within the panorama of an alien virus, the response would possess been a univocal sure. Within the destiny that prevailed at that interval, the choice three engines of progress have been inconceivable to ardor.

A bodily lockdown wretched non-public consumption, the world-wide nature of the coronavirus pandemic and cross-border controls squeezed exports, and absolute dubiety took an attract alongside non-public investiture with companies and citizenry tightening belts going through recondite instances. Alone the Authorities of India may unloose its whack and make use of extra to foreclose a tot breakdown. In India, the federal government gave a higher dialect to liquidness help to struggling companies and people than to expenditure, unalike in many various nations. Whether or not GoI didnt engorge so, whats the likelihood it might enact so at current? The controversy is that at that interval, authorities revenues had likewise desiccated up, which dissuaded additional expense.

Learn Extra:How Do You Get NPS Partial Withdrawal Quantity In Your Financial institution Account?

However they possess at current healed for the reason that repercussion inwards the financial system. The allurement to enact a monetary stimulation forth disbursement extra is larger this era. But, there are 2 slipways to enact a monetary stimulant. Both GoI spends higher, or it earns/spends much less sledding extra money to households and companies to broaden/make investments. The finances mustiness focalizes alongside the latter. This isnt the epoch fronting GoI to exuberate its disbursal by musing a bigger share from taxpayers. On the opposing, it ought to carve taxes on people and companies and avow them to take advantage of a bigger portion within the resurgence fable assurance is again.

An ingenious stimulation may energy extraordinary taxation, resembling cesses, which might observe distance. It may likewise indicate money transfers to the poorer sections of the inhabitants, which is able to broaden immediately. These will immediately supercharge investiture and consumption, thereby exhilarating a furnish decision making a vestal wheel going through development. To the extent that GoI needs to move extra, together with infrastructure, for illustration, it ought to debar extra taxable earnings. Due to Indias bequest of a State-led financial system, GoI has its possess sources of luxuriance and tax earnings public sector undertakings (PSUs) and land belongings. anecdotal alternative it has is to advise PSUs to assent investiture expending.

However apteral the fragile scenario of funds of virtually PSUs and the inefficiencies inwards their operations (like authorities, additionally they are toddled by extended processes), the appropriate alternative is to impoverish PSUs. The anticipated fronting belongings impelled by abounding cheap liquidness, as evidenced forth the flourishing inventory markets, is veritable excessive. This is applicable to belongings various than PSUs as favorable, like airports, ports, and highways, as salutary as tracts of idle land owned forth the Indian Railways, protection companies, and various companies. Tax income from the monetization of those belongings might observe used to finance adscititious authorities investiture expending, with out burdening taxpayers. The finance minister has promised the topper finances in 100 years. Whether or not GoI can orchestrate a stimulation trance discount of the taxpayers load, completely it parting be.

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When we were sourcing artists for our annual Top 40 Artists To Watch list this past December, I reached out to a few friends to help round out the final artists we needed to fill the list. Among them was Deadcrow, whose track Hive Mind made him an immediate clear choice. Later, when the list had been finalized and we were creating the playlist with everyones tracks, I noticed a trend a lot of the songs, like Heimanus Worlds, juuku & Rossys Euphoria, and Kumarions Hold You had similar vibes.

At the time, I didnt put much extra thought into it, as so many artists share similar styles anyway.

It wasnt until Hex Cougar hosted his Alter/Ego stream in mid-December that I realized there was a name for this sound:wave.

The live stream featured performances from RemK, Deadcrow, Heimanu, and Hex Cougar, and while I was watching, the name wave kept popping up over and over and over in the chat. I happened to DM one of these people and asked if they had a playlist that I could listen to. He gave me two.

This sound felt fresh and innovative and I loved digging into it, especially now that I had something to call it.

Feeling a need to find out more, I reached out to a few artists Heimanu, Deadcrow, iSorin, and enjoii as well as Brett Hapoienu, owner of vibe.digital Agency, which represents Deadcrow as well as another popular wave artist, Skeler.

iSorin: I think the main differing factor with Wave vs other bass music genres is its emotiveness (if thats even a word lol). It is usually very melodic and commonly has chopped up vocal samples pitched up and down with reverb and delay. And of course one of the main differences and what seems to be a constant with just about every wave track, is that a reese is used for the bass. Traditionally the percussion choices for Wave are mostly trappy drums with rapid hi-hats being very common, but lately a lot of artists in the scene have been pushing boundaries and experimenting more with other percussive sounds and its fucking awesome!

Heimanu: For me, wave is all about the emotions it gives you. Stylistically, things can chop and change and still remain under the umbrella of wave. With that being said, some common sonics that are present are ethereal, trance-like melodies, dark and moody vocal chops and thick low-end reese basses. A perfect combination for a storm of emotive bass music.

enjoii: Electronic music for modern time. For me wave is more than a genre. Wave is a community and movement of amazing creatives and supporters all around the globe. It is so nice to be part of this community.

Deadcrow: Every time someone asks me that, I tell them its basically like the Yung Lean Kyoto instrumental made into a genre. But nowadays it has gotten a pretty hard edge, basically as if its trance/hardstyle but with half time drums and a reese bass.

Brett: I often like to simply describe it as melodic, emotive, bass/electronic music. Over the years wave has come to include a wide spectrum of sound ranging across all BPMs. Sometimes dark, sometimes bright. Often characterized by the use of a reese bass, trap drums, heavy atmosphere, arpeggios and more.

iSorin: The main thing that attracted me to the sound was that it was melodic and trappy. At the time I was very into trap but it started to get obnoxious to me with too many screechy sounds and I kind of got tired of it. When I first heard Wave I didnt know it was Wave, I just considered it chill trap. But the more I got into it and the more artists I discovered, I noticed that it was definitely different, and the main differing factor at the time was that each track used a reese for the bass, compared a typical trap song that would use an 808 for the bass. I chose to start producing Wave because I couldnt help myself lol. I was obsessed and basically it was the only genre I listened to in 2016/2017. So at that time I dedicated all my studio time to Wave and havent looked back

Heimanu: I was listening to wave before I knew it was even a genre. There was something about the mood of it that made me feel connected. It wasnt until years later, once I stepped away from the heavy trap and bass scene, that I found my passion for it again. This was reignited by Skeler, who altered the genre into what is known as Hardwave essentially a more club version of its predecessor wave. Skeler connected the dots for me he moved the genre to where it would get dance floors moving at similar energies that harder bass music provided, while also retaining the mood and emotions that wave captures so well.

enjoii: For me, wave was a natural transition from underground witchouse which was pretty popular in eastern Europe, I think freedom of musical expression with futuristic twist attracted me the most.

Deadcrow: Its melodic aspect in combination with the trap foundation is what attracted me to it the most. I had been into dubstep, trap and other harder stuff for a long time but also really enjoyed when things got melodic, so wave for me filled up that empty space. It was a way for me to put emotion into my songs while still keeping in those trap beats. And nowadays Im also combining it with hardstyle a lot, which is partially the music I grew up on. I feel like I can express myself pretty well by making wave.

Brett: After spending most of my DJ career at music festivals focusing mostly on heavier bass music, I found myself digging for something new in ~2014/15. Ive always liked more melody in my music and found myself drawn to the slowed down more emotional vibes. Ive also come to fall in love with many of the individuals in the community which makes me want to work to push their sound even more.

iSorin: When I first discovered Wave ~5 years ago it made me feel something deeper, it was thought provoking in a different way and somehow for me many Wave tracks can help me relax one day and then energize me during a workout the next day. Its also awesome that there are so many talented artists pushing their own kind of sound, and with a good number of these artists you can know right away who produced a track.

Heimanu: I loved the feeling that wave gives me. Its dark and deep, and sounds mysterious and otherworldly, while at the same time making me feel like Im understood and at home. The emotions it gave me, combined with the sonics that I love (trance leads, dark basses, emotive vocal chops) led to me to become an avid supporter and promoter of the genre, scene and community.

enjoii: Whether you want to feel like in cyberpunkish dystopian world longing for home or futuristic cyber world full of possibilities, you will find something for yourself.

Deadcrow: I think the answer to this is kind of the same as to the previous question! The combination of emotion and instrumentation to me makes it a great genre. And you can do so many things with it too, also since you arent really bound to a certain BPM. On top of that the sound is just fresh.

Brett: Its hard to describe really but theres just a certain mood/vibe/emotion that really captures my ears and my heart. Theres also a lot of versatility possible in the sound. My DJ sets can start at 100 and end at 200 and find something to play everywhere in between. I can play heavy or go deep.

iSorin: It is likely a combination of both. Many fans of electronic music appreciate when something sounds fresh and new and is not something that is being regurgitated by every artist. There are many people out there that would likely love Wave but dont even know it exists, and I think the reason for that is because it combines elements from so many genres.

Heimanu: I believe the reason why wave has a very established core underground community is because of the connection and experience that the genre offers you. Wave songs are always an emotional journey and as such we can connect to and appreciate the genre on a more emotional level. Compared to most other EDM sub-genres, where its mostly about energy and often superficial emotions, wave goes much deeper than just the surface level sound and feeling. Because of this, fans of the genre are so much more emotionally connected than they would be to other dance genres. As a result, the fans are absolutely diehard.

enjoii: A variety of sounds which have deep emotions in common. I think its both vibe and the desire for something new. Wave has naturally evolved into hardwave which attracted new listeners and the wave itself is the result of many other genres where people met each other. I think is interesting to observe this process from the beginning.

Deadcrow: I guess relatively its sort of new, specially in the EDM realm, but its been around for more than half a decade now. I feel like when new sounds emerge on the internet, instead of it being concentrated in a certain country, it grants more possibility for a big loyal fan base to grow. Genres also dont exist without their own communities, so I think the musical aspect as well as the community aspect make it attractive to people. Some other new genres rise to fame very quickly and then just die out, with not much of a core fanbase being left because people have moved on. I think thats where wave is different, the community was already there before it became bigger, so even if the current hype settles a bit, the community will still be big enough to sustain wave as a genre.

Brett: A bit of both for sure. The wave community really started developing years ago and theres many of us just ecstatic to see it taking off with wider audiences and for various artists weve followed for years to get some more notice. Theres a lot real love for the sound and real talent in the scene. Im grateful for you taking the time to share about it!

iSorin: Might be an unpopular opinion but I do hope the genre gets bigger. Some of my peers and close friends who are also producing wave are working their ASSES off every single day trying to make a name for themselves and trying to hopefully make music their fulltime job. And unfortunately as much as some people would love the genre to stay underground, that would really limit the potential of so many talented artists trying to break through. 2020 was a pretty big year for wave as it gained more popularity with more faster tempo/club friendly tracks, but there is room to grow in all aspects and all versions of the genre!

Heimanu: I want the genre to expand into something much bigger than it already is and I believe that everyone should have the opportunity to experience the emotions that the genre has to offer. It will also allow artists to live out their dreams of playing their music to crowds, having their music heard by millions and ultimately giving the artists a platform to financially thrive off of, leading back to more music being created in the genre.

There will be obvious downsides of the genre expanding commercialism and oversaturation of the sound. However, I believe that because the community is so deep-rooted and connected, it will be more difficult for third parties, those only interested in staying relevant and maintaining profit, to capitalize on the genres success. We have built something based off of respect for each other and respect for the sound, and I truly believe that our values will hold true with genre expansion.

One more point, the genre is hard to replicate if you dont get the emotion right in the song. You can have all the sonics and sounds, understand how to arrange and mix the track, but if you arent capturing the core emotion youll have a hard time to pass it as wave. And if you are capturing those emotions, then you are welcomed, as you understand what we feel.

enjoii: I hope it will keep evolving as it was to this day and will attract new listeners as well as music producers to join our community.

Deadcrow: The way I see it now, wave is on its way to solidify itself as a genre outside of its own community, and that was personally what I always wanted to happen. Because that also means that its not just a genre on SoundCloud anymore, and also that there is way more possibility for us artists in the scene to be able to sustain ourselves from making the music we love to make. I really want to see us play big festivals, have our music featured in video games and music, and land placements with big artists outside of the scene. The future for the genre in my eyes is looking very bright!

Brett: My role in the wave scene has served mostly via my label/agency vibe.digital. We definitely have big plans and high hopes for the genre. Theres interest in the sound worldwide and as the world opens back up Ill be booking tours to reflect that. With high popularity theres of course the danger, as with anything, for the sound to become oversaturated, cookie-cutter etc. Thats why I Im investing myself in specific artists through the agency and pioneers of the sound, both old heads and new, through the label.

iSorin: NOAH B, REMNANT.exe, Juche, W/out, SBU, Sublab, Sorsari, Nick Neutronz, Just Connor, gl00my, Mannequin, Fyoomz, Ktrek, TIGEREYES, Ennja, lovewithme, Ytho, and MANY others I cant possibly list them all

Heimanu: Absolutely need to follow? For sure Skeler, Deadcrow, Teneki, Sublab, and Juche. These guys are the best in the Hardwave scene right now.

enjoii: There are so many talents to follow I think its worth starting by choosing any artist from this interview and start digging for more thats how we all met

Deadcrow: REMNANT.exe and Dyzphoria are the first two names that pop up in my head. Theyre also some of my best homies in the scene. Definitely check them out!

Brett: All of the artists we represent on vibe.digital, who have released on the label or graced us on our podcast/radio show.

Photo by Eddie Perlas / ESPN Images

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Diving Into "WAVE," The New Genre That's Destined To Blow Up In 2021 - Your EDM

Its pure, classic trance from Garry McCartney, highlighted by Brennan's trademark heavenly voice.

Trance Wax (Belfasts Garry McCartney) has teamed up with the First Lady of Celtic Music - Clannad's Moya Brennan - for their new collaborative dance track 'Rivers'.

Trace Wax was launched as an anonymous series of vinyl-only bootlegs back in 2015 as a way for McCartney to celebrate the formative sounds that he first fell in love with as a Belfast teenager.

Electronic music label Anjunabeats is now welcoming Grammy Award-winning Irish folk singer, songwriter, harpist, philanthropist Moya Brennan to the British label as a guest.

For his debut album, Trance Wax - the nostalgia infused alias of Ejeca - was able to recruit Moya for another go around the classic trance carousel on the track, 'Rivers'.

Brennans achievements and influence as both a solo artist and a member of her familys legendary band Clannad are monumental. In addition to recording 17 records with Clannad (which included receiving a Grammy, a BAFTA, and an Ivor Novello award), Moyas had an impactful solo career to the tune of 25 albums and sales in excess of 20 million records.

In 2020, Moya was part of the Irish Women in Harmony collective, which recorded a version of "Dreams" in aid of Safe Ireland - a charity that deals with domestic abuse.

This isn't the first time the Irish trad sensation has put her voice onto a dance track. Chicanes 1999 classic 'Saltwater' utilised the otherworldly sound of Moya's vocals to create one of the defining moments in dance music history and a crossover sensation. Incorporating parts of Clannads 1992 hit 'Harrys Game', 'Saltwater' raced up the UK Singles Chart to No. 6.

On 'Rivers', Brennan stretches her genre wings to mark another successful team project.

Garry sent some ideas to us and I listened to them for a couple of days. I couldn't wait to get into the studio because you kind of feel that sense of a canvas and adding the colours," Brennan said of working with Trance Wax.

"The more I keep hearing, the more I sing. I concentrate first of all on the melody and make sure that I've captured the sense and the essence of the chorus. I was thrilled when I sent it to Garry and right away loved it.

"Garry is an amazing musician, and he's really into delving into all sorts of alternative ways of using the different vocals," the musician added. "I sent him a lot of different ideas, the verses, the choruses, the harmonies, and a few other bits. I sent him the lot to see if he could use any of it and he ended up using it all, Brennan says.

Garry McCartney also described his excitement at the prospect of working with such a huge name:

It was an honour to make a song with Celtic legend Moya Brennan. Her magical ethereal tones encapsulate what I was trying to do on the album. The song is about being home and a sense of belonging, I hope you all enjoy.

In 2020, Anjunabeats released a stirring, self-titled LP debut from Trance Wax featuring 14 original compositions. The album is a celebration of communal euphoria and a love-letter to the golden age of trance through the eyes of a modern production star at the top of his game.

Listen to his new single with Moya Brennan, 'Rivers', below:

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Track of the Day: Moya Brennan & Trance Wax - 'Rivers' - hotpress.com

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A sought-after producer, acoustic-music ambassador andvirtuoso banjo player, as well as the host of the Inside the Musician's Brainpodcast, Chris Pandolfi boasts some impressive feathers in his creative cap including a 2018 Grammy with his band the Infamous Stringdustersand the first-ever degree in banjo from the Berklee College of Music in Boston.

Despite such lofty achievements, Pandolfi, 41, lights up most when talking about Colorado and the state's music scene. On his latest release, Trance Banjo, he shares his evolving musical vision.

Westword caught up with Pandolfi to discuss the new album and his life.

Westword:Are you from the East Coast originally?

Chris Pandolfi:I am. I grew up in New York just north of [New York City]. My whole family is kind of Northeast-centric. I went to college [in New Hampshire], and then I went to grad school in Boston. After that I moved down to Nashville, which is where the Infamous Stringdusters got their start, and after the band got established there, I made my way out to Colorado [in 2013], which has been great. Its a place Ive always loved, and its become such an epicenter for bluegrass and acoustic music in recent years, which has translated into a lot of cool opportunities for me. It checked a lot of the boxes.

So you hold a degree from the Berklee College of Music?I do. I was the first-ever banjo principal at Berklee. Everyone who applies to the college, no matter what track they go down, chooses a principal instrument. It could be voice or guitar or sax or whatever; there are like 25 of them. But when I applied, banjo wasnt an option.

How did that experience go for you?

After I got my undergrad degree from Dartmouth, I was gung ho to become a musician, but I needed some time to hone my game, and I wanted to go to school. This was in 2001. There werent a lot of options for banjo study at the time now thats changed. But through my banjo teacher, Tony Trischka, I got hooked up with the chair of the strings department at Berklee, and I was able to plead my case. So I sent my application, along with an audition tape, and they let me in. When I was there, I mostly took lessons from guitar players. I was learning more what to play than how to play it. I would learn on guitar and then transpose everything to banjo. I was sort of a fish out of water, but I didnt care. I was just kind of absorbing everything that came my way and a lot of great things came out of music school for me, for sure.

So basically, you broke trail for the banjo at Berklee.

Thats right. Bluegrass is a lot cooler now than it was then. I was really into Bla Fleck and stuff like that, but there wasnt really a track for it there. Now they have a thing called the American Roots Music Program, in which students can focus on mandolin, banjo and other stuff. I've been back to do a guest-professor thing.

What did you study at Dartmouth?

My major was environmental studies, but I studied music a lot toward the end of my four years there. My senior thesis was through the music department. I put on this big concert with musicians from all different genres, and I wrote all the music. At that point, even my environmental studies professor was like, Come on, we all know youre going to be a musician. So my final project was all about music. Im still passionate about conservation and the environment, and I'm a big fly fisherman, and Ive used the platform of the Stringdusters to promote some environmental causes that are near and dear to my heart. That's still in there, for sure, but making a career out of music has been hard enough, and it's taken up most of my bandwidth.

Howd you get into playing banjo? I took a backward path. My older brother, who is a big inspiration for me in general, was a musician who played bass, and he was into Bla Fleck and the Flecktones; we went to a bunch of their shows together. And when I discovered the Flecktones, I was like, "This is my thing. It was that experience when youre a music head and you discover something and fall in love with it, and you just want to dive in and share it with everyone.So I got way into it and decided I wanted to get a banjo, but I had never heard of bluegrass.

When did you get your first banjo?

My senior year in high school [1997].

So you started with Bla and worked your way back to Earl?The first few tunes I learned on banjo were so over my head, it wasnt even funny. Bla was my jam initially, so I started out with the most progressive stuff and wound up working my way back to Scruggs.I didn't begin with the fundamentals, but, of course, you learn by being passionate. When I got to Nashville and started to look at forming a band, bluegrass became the common thread between all of us and the bedrock of what we do. It connected me with everyone I met there. But, yeah, Earl isthe gold standard in bluegrass. So much of the instrument is encapsulated in this one guy. You can't play bluegrass banjo and not study him. I started a lot later than a lot of my peers, but when you get a banjo and you want to learn it, all roads point to bluegrass.

Do you enjoy playing the more traditional style of bluegrass banjo?

I love it. And some of the stuff that I play and write could be interpreted as being more on the traditional end of the spectrum. Overall, my mission with the banjo is to compose from the heart and draw in a lot of different idioms and genres, but when it comes to playing, my whole technique, timing, tone and drive...its all derivative of Earl. I try to bring this to my more modern-sounding compositions. With my new album, Trance Banjo, Im doing this using much more modern production techniques as well. But I like it all. I listen to everything from electronic music to Flatt and Scruggs. It all creeps in some way or another.

Can you tell me a bit about the new album?

Yeah. Its my fourth solo album.My first two solo efforts were progressive bluegrass records, where I was in the studio with other players recording bluegrass tunes that I wrote. Stuff with cool melodies and hot solos that format. About seven or eight years ago, I started producing albums for a few artists[including local bands Trout Steak Revival and Meadow Mountain], and in 2015 I brought together a lot of the skills that I was developing in the studio to create an album called Interference. It was a real left turn.

I began experimenting with far-out production techniques and messing with vinyl samples and all kinds of stuff.I was sampling old classical records with big string sections and putting that against beats and some virtual instruments, and I started writing tunes to it, and I was like, This is fuckin sick. So I wanted to see it through, but it was a huge undertaking.

[Trance] is a combination of my banjo playing, my production and writing skills, and all the eclectic sounds that live in my studio, all in one place. I love crafting music in the studio, and I felt like I hit on something modern-sounding by using beats and virtual instruments along with old sounds. I actually started this album about three years ago, but I put it on the shelf because it was too labor-intensive. When quarantine hit, I needed something to do, so I got back into the album and finished it. I drove my girlfriend crazy. She thought I was going to be hanging out at home again, but instead I ended up putting in long days at my studio in Golden.

Starting a song is the easy part that's the fun part. Finishing these songs and building out all the tracks takes a lot of disciplined work. I wanted to make a complete album, not just a few tracks. This release speaks to the power of creating an album. In my mind, albums are where artists can really evolve. They allow you to find a new voice and explore your ideas deeply, which is how new sounds are born. Its a real passion project for me, and people seem to really be digging it. Its got some jams, some melodies and some songs that have no solos at all. Overall, I wanted to create a feeling.

Chris Pandolfi'snew album, Trance Banjo, drops on February 12.

Keep Westword Free... Since we started Westword, it has been defined as the free, independent voice of Denver, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Denver with no paywalls.

Nick Hutchinson writes about music for Westword and enjoys playing his guitar when not on deadline.

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Chris Pandolfi of the Infamous Stringdusters on "Trance Banjo" - Westword

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Together withAmerican Songwriter, we had the pleasure of interviewing Topic and ATB over Zoom video!

Legendary German producer/DJ/songwriter ATB teams up with Topic and A7S on Your Love (9pm) the first-ever official remake of ATBs breakthrough 1998 hit, 9pm (Till I Come). Working together in a German studio, ATB and Topic flawlessly blended their musical styles to create the track, along with A7S, who finalized the lyrics via video call.

Over the past 20 years, Ive received so many requests for collaborations, remakes and cover versions of my song 9pm (Till I Come) but I passed on them all because I was never really satisfied with the sound of the approach nor the final, explains ATB. Then I listened to Topics Breaking Me together with Rudi (management) and we immediately had the feeling that these two sound worlds could fuse together perfectly.

Fit for the TikTok generation, ATB & Topics reimagined version features A7S soaring vocals and a powerful, full-bodied bassline alongside the distinctive guitar hook and sun-kissed trance energy that made the original a worldwide hit.

9pm (Till I Come) is an absolute dance classic that Ive known and loved since I was little, says Topic. It is therefore a great honor to be the first to reissue this number together with ATB. The typical ATB guitar riff paired with my melancholic dance music sound and the unmistakable voice of A7S results in a perfect symbiosis!

Your Love (9pm) follows on from what has been a career-defining year for German/Croatian producer Topic and Swedish singer/songwriter A7S. Their first collaboration, Breaking Me, became one of the most successful singles of 2020, amassing more than one billion combined global streams. The song hit No. 1 on the Mediabase U.S. dance radio tally, iTunes and the Global Top 200 Shazam chart, earning certifications in 27 countries around the world, including Gold status in the U.S. and Platinum in the U.K. The duo enlisted GRAMMY-nominated U.S. rapper Lil Baby for the follow-up single, Why Do You Lie To Me, which has racked up over 35 million Spotify streams and garnered strong U.K. radio support from the likes of BBC Radio 1, Capital FM and Kiss FM.

ATBs 9pm (Till I Come) topped the U.K.s Official Singles chart in 1999, becoming the first trance song to reach No. 1 in Britain. It entered the top 10 in numerous countries, including Billboards Dance Club Songs chart in the U.S., where it opened the door for electronic dance music on mainstream radio. The songs enduring appeal is highlighted in this clip, which shows Ed Sheeran and Max Martin dancing to 9pm. ATBs subsequent string of hits which included Dont Stop, Ecstasy, Let U Go, What About Us, Move On and When It Ends It Starts Again has consistently earned him a spot in the prestigious DJ Mag Top 100 poll for nearly two decades. He has released 10 studio albums and more than 40 singles, earning Platinum and Gold awards in numerous countries.

While paying homage to an iconic 90s dance track, ATB, Topic and A7S have delivered a thoroughly modern anthem with Your Love (9pm).

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Bringin' It Backwards: Interview with Topic and ATB American Songwriter - American Songwriter

The musical and rhythmic profanity in producer Guido Hermans soundscape is a streaming scope of blissful electronic dance music and its creative diversities.

Utrecht, Jan 25, 2021 (Issuewire.com)Music producerGuido Hermansis creating a soul-altering scope of contemporary electronic musical definitions with his interpretations of trance, progressive, techno, and chill-out music. The arena of underground EDM music finds an extensive platform to flourish and grow under the creative guidance of the artist. His song Labyrinth Renaissance Part 2 from his latest album, La Bella Vita creates immersive sorcery with the various undulations of rhythmic and tonal dynamics. As a lover of the underground dance scene since the mid-90s, he tried again to bring back the underground old-school sound to life with his new album La Bella Vita.

Although a contemporary artist, the audience finds him going back to EDM classics that render a textured, old-school style. The other song Rivendell Imladris from the same album also carries his prolific personality as it takes the listeners on a journey of musical diversity. The progressive and trance entail of the 90s scene complements in a contemporary arrangement in a way that renders creative and cultural blends. His soundscape bridges the gap between old and new structures although he sometimes likes to deviate towards a direction of strict new-age characteristics in his music.

Some of his songs that define the resurgence of his soundscape include Out Of Memory, At The End Of The Day (99 mix), Pandemic, Fate, Nostalgia, and Renaissance among many others.

Guido Hermans is currently tied up in the making of his upcoming EP which is set to release later in the year. Experience the creative and transcendental resurgence of old-school progressive, trance, techno, and house following his works on Spotify, Beatport, and Soundcloud right away.

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Listen to the Verses of Trance and Progressive EDM with Guido Hermans' Exquisite Soundscape - Pro News Report