Sonic Reducers. One topic. Two music nerds. Five minutes. Everything you need to know.
Join us as we discuss the MTV Video Music Award nominations and discuss their plans to hold the festivities live from Brooklyn’s Barclays Center next month.
There’s A New Music Platform That Uses AI to Empower Artists
Today, Aimi introduces the most innovative, interactive and industry-shaping version of its AI-powered music platform to date, unveiling exclusive Experiences designed by dozens of DJs and producers who are eager to bridge the divide between art and artificial intelligence. For a limited period, users can now access Aimi’s premium service, Aimi+, for free through direct invites from the first wave of artist partners announced today. Once the Aimi app is downloaded onto a mobile device and the new Aimi+ interface is engaged, fans simply select an artist to begin an endless listening experience. Featuring entirely unheard and unreleased music, each artist’s Aimi+ Experience will change whenever the fan presses play, taking users on a constantly-evolving journey that reanimates with the spontaneity of a live performance.
Experiences from Appleblim, Black Loops, Cassy, Catz ‘n Dogz, Cosmin TRG, Dense & Pika, East End Dubs, Fred P, Hammer, Hodge, Huerta, Ian Pooley, Jimpster, Marco Passarani, Mark Hawkins, Peverelist, Portable, Roska, Sei A, Shanti Celeste, Space Dimension Controller and Tensnake are now available on Aimi+. In the coming weeks Âme, Big Miz, Cinthie, D’Bridge, Dauwd, Dam Swindle, DJ Boring, DJ Haus, Gene On Earth, Haider, Joseph Ashworth, Komon, Man Power, Max Cooper, Nachtbraker, Scuba, Shadow Child, Skream, Soul Clap, Steffi, Steve Spacek, Theo Kottis, Tracey and more tastemaking artists from the underground and mainstream will all launch original Aimi+ Experiences and invite fans to join the platform.
“When an artist hears their music being rearranged in real time by Aimi, it never fails to put a smile on their face. The artists collaborating with Aimi are doing so because they love the results but also because Aimi totally respects their aesthetic and musical DNA.” says Aimi Head of A&R Will Saul, whose roles as A&R at Sony Music and !K7, founder of Aus Music and Simple Records, curator of the hallowed DJ Kicks series, and an artist in his own right have put him at the cutting edge of electronic music’s past 20 years.
Defying the limitations of recorded music, every sound heard on Aimi is generated on the spot, produced, mixed and mastered through a collaboration between the artist and AI. Aimi and its team of in-house musicians built the platform’s artificial intelligence by deconstructing thousands of hours of music and consulting with a myriad of professional DJs and producers to develop a deep understanding of rhythm and pitch. When artists use Aimi, the technology allows them to transform minutes worth of basic audio loops, raw stems and unfinished songs into infinite compositions that move beyond the confines of static albums and singles, presenting the work the way that electronic music is meant to be experienced. Designed to amplify the human element of music and not replace it, Aimi’s proprietary AI software works within creative parameters configured by the artist. The AI combines loops into a continuous mix that stays true to the artist’s ideas and intentions, while transitioning to the response of fans (via “Thumbs Up” and “Thumbs Down” metrics).
Aimi President & CEO Edward Balassanian says, “When we launched Aimi over a year ago, we set out to change the way we consume music, moving away from listening to songs to truly experiencing music. We’ve now taken the next step in not only changing the way we experience music, but also empowering artists with a new medium to express their creativity and to engage with their fans.”
In addition to maximizing creative time, Aimi not only enables artists to cultivate responsive relationships with fans who can react to and reimagine the music in real time, but combat the fatigue faced when listeners hear the same tracks on repeat, showcase their music like never before, and monetize work that would have otherwise gone uncompensated. Through direct investments from Aimi and royalties administered through blockchain technology and smart contracts that ensure complete transparency, artists will collect revenue on their Aimi+ Experiences, establishing a new economy that empowers creators to earn money on material that never needs to be considered finished by traditional industry standards.
Following the invite-only phase that will further expand this summer, Aimi+ will shift to a paid model with a monthly subscription fee, while continuing to offer a free tier including multiple experiences of endless, uninterrupted and adaptable modes of music that range from ambient meditations to high intensity dance grooves.
Benedict Cumberbatch reads Kurt Vonnegut’s letter of advice to people living in 2088
Here’s Benedict Cumberbatch reading a letter the acclaimed writer Kurt Vonnegut wrote in 1988 to people living in 2088, giving seven very prescient pieces of advice.
Van Halen’s “Jump” Mashed Up With Hank Williams “Your Cheatin’ Heart”
Bill McClintock does it again, this time mashing up Van Halen’s “Jump” with Hank Williams’ “Your Cheatin’ Heart.”
Rapper/Songwriter PATRIK KABONGO Creates His Own Heat Wave with “98 Degrees”
At 1 Million+ streams across platforms, Canadian rapper Patrik Kabongo is serving verses set to make you sweat with his hot new summer single, “98 Degrees” — available now.
Following a run of success over the past few years, the Toronto- and Montreal-based artist is doubling down on a heavy blend of high energy, heavy trap bass, and Lil Mama’s “Lip Gloss” for good measure.
High tempo and high energy is nothing new to the rapper and songwriter; in fact, Kabongo has been turning heads for some time now with features in Earmilk, Elevator, Hip-Hop Canada, BBC Radio 2, Sirius XM Canada, and more.
“98 Degrees” comes off of Patrick Kabongo’s recently released eight-track album, High End Pack (2021). Dedicated to showcasing his sonic and artistic versatility, the project features two singles recently featured in a national TikTok campaign (“High End” and “High End (120 Remix)”). It will also include five new records, videos, and a limited capsule auction available through NFTs.
This isn’t the last move for Patrick Kabongo, either. In May, 2020 Kabongo signed a new distribution deal with Coalition Music/Warner Music Canada and released the single, “Motive.” It garnered the traction to dive head first into TikTok Canada’s #ItStartsWith TikTok campaign, which was broadcast live on television during both the NBA Finals and the 2020 Billboard Awards.
“98 Degrees” and High End Pack are available now.
Former ARKITEX Frontman ROGOV Figures Out Meaning of Life with “Love Is A Killer”
Canadian artist (and former frontman of 80s-era rockers ARKITEX) ROGOV describes a cautionary tale of the consequences of love in this re-imagined version of his alt-rock single, “Love Is A Killer” — available now.
Working with long-time friend and Canadian collaborator, Stacy Heydon — former lead guitarist for David Bowie and Gold & Platinum-selling producer (Teenage Head, Long John Baldry, Sheriff) — the two found themselves revisiting an old song off of ROGOV’s demo reels.
“We followed ‘Mistakes are Beautiful’ with ‘Love is a Killer’ because, not only is it a defining song between Stacy and me, but because it is relevant today,” ROGOV shares.
“I wrote ‘Love is a Killer’ back in 1978, and recorded my first album in 1979,” ROGOV continues, recalling when the song was originally written — and how it came to be today. “It was at the end of the Punk movement, ushering in the New Wave.
“Some say I was ahead of my time… I just did and went where my compass directed. I can’t add much to that.”
Heydon then went on to produce ‘Love is a Killer’ with Blues legend, Long John Baldry, in 1980. “After all this time, ‘Love is a Killer’ — and its sentiment — struck us (just) as insightful and urgent,” ROGOV says.
The track harbors a more profound message of wisdom from this newly found free spirit, presenting ROGOV’s take on the concept of love by reflecting aloud “…the subservient quality to love is our willingness to make unquestioning sacrifices for the desired well-being, and eventual transformation into slaves to what we love.”
Being the third release on ROGOV’s unfurling EP, Tourist, the song’s message of caution rings true to this day for many.
“Love is vicious, and it’s never just.”
“Love Is A Killer” is available now.
Barney Bentall & Geoffrey Kelly are RanchWriters; “Bonaparte Plateau” Out Now; Album Released Sept 17
When two multi-Platinum and Gold-selling Canadian artists pass time together the best way they know how, the result is certain to turn ears. And such is the case for award-winning musicians Barney Bentall and Geoffrey Kelly and their newly announced album, RanchWriters — available this Fall via True North Records.
Beloved around the world for his JUNO Award-winning band, the Legendary Hearts, Barney Bentall went on to release multiple acclaimed albums as a solo artist; most recently, he’s also a part of bluegrass-folk band, The High Bar Gang. And as one of the primary songwriters in Spirit of the West, Geoffrey Kelly is one of the nation’s most lauded Celtic musicians and folk-rockers who has also performed with the Irish Rovers and as one of the Paperboys.
The prolific pair came together at Bentall’s ranch in the heart of the Cariboo region of British Columbia during 2020’s relative isolation, ultimately bringing their long-fated RanchWriters collaboration to life.
While the act of gathering was not a new experience for the friends of 40+ years, this time was a bit different, they say. “On nice days, we might park ourselves on a couple of old chairs by the creek,” Bentall recalls of the visits over the years. “We tend to lose ourselves, and become comically oblivious to any noise or frivolity going on around.
“There’s no agenda and no pressure to come up with a thoughtful and meaningful lyric. Truth be told, it’s quite liberating.
“This time, being well aware that the times are strange, and words don’t seem to be able to fully capture what the world is going through, we delved deeper and deeper into that instrumental writing process.”
“Making the RanchWriters album with Barney feels like a gift I never saw coming,” Kelly considers. “I’m sure glad we wandered down that path…
“Hypnotic patterns, layering, swirling, dreamy repetition; it all seemed to flow, much like the creek at the ranch in the Cariboo where everything started — with no clock, no deadline, and no agenda.”
Embracing freedom from lyric-based songwriting structures that have spanned their tenured careers, the two tested new techniques — finding unexpected inspiration along the way. “I’d found myself gravitating to instrumental music of late;” Bentall shares. “A chance to be steered only by where the tune takes you…”
“A lot of melodies on the album evolved from using an alternate tuning,” Kelly adds. “I got the tuning from the playing of the great Jackie Leven — who is, sadly, no longer with us.
“Much like Joni Mitchell and Nick Drake, Jackie found these open and alternate tunings led him down different paths. In our case, with two guitars and after a bit of experimenting, we found the most pleasing, complementary sound came when Barney played in standard tuning with my open tuning; it seemed to give the chords more extension and counterpoint.
“Not to dwell on technicalities, but I feel this methodology is at the core of the album,” he continues. “The other consistent element is finger picking; there is hardly a strum to be found.”
“That new framework of open tuning seemed to bring forth many wonderful melodies and ideas,” Bentall says. “The combination of the two, with my standard tuning, was enchanting and inspiring to us.”
The result is an entirely instrumental 12-track album dubbed as ‘Cinematic Canadiana’ for its journey across acoustic Americana to traditional folk to New-Grass genres. With all songs written and produced by Kelly and Bentall — plus a co-write from Trixie Berkel on “Marble Canyon Rag” — the two were joined in production by John Raham, who also recorded and mixed the release.
“In Fall of 2020, John called to say he was heading our way with a mobile recording rig, and adding a stop at the ranch seemed like a perfect opportunity to bring the RanchWriters idea to fruition,” Bentall says of the chance to record the release within the same walls they were first created in. “These walls are made of hand-hewn square logs. There are no hard, reflective surfaces; they’re perfect for sound.
“The house was rebuilt out of the old log homestead from the 30s or 40s; children had been born within them; hard cold winters had been endured; Saturday night get-togethers had filled the building with music — a tradition that continues to this day! So we assembled some of our favourite musicians — with others contributing remotely all the way from Newfoundland to Vancouver Island — and hunkered down for three days that October; a beautiful time of year in the Cariboo…
“We are all aware that it is a strange and complex time in the world,” he adds. “Songs with words can be a source of comfort, but sometimes it’s nice to let your mind, heart, and soul float in any direction.
“Hope you enjoy it.”
RanchWriters will be released September 17, 2021 but can be pre-ordered now here.
// RanchWriters Track Listing
“Chilcotin”
“Marble Canyon Rag”
“Danrow Flats”
“Bonaparte Plateau”
“Big Turk”
“Fred Neil”
“Upstairs Downstairs (For Penny)”
“Sea To Sky”
“Black Tusk”
“Pavilion”
“Winter Flood”
“Earl’s Taxi”
Hip Hop Artist TORONTO POOR BOY Drops Debut Album & New Single “No Stressing”
By sonically documenting his experiences, and taking no aspect of his music for granted, Canadian hip hop artist Toronto Poor Boy has laid it all out on the line with this, his debut studio album, Until the End of Hurting Times — available now.
“Last year was definitely a year for reflection for a lot of people,” the Jamaican-born artist says, “and it gave me the ability to really put my thoughts and feelings into my lyrics.”
Featuring new single “No Stressing,” his recently released 26-song LP, Until the End of Hurting Times, is the culmination of patience, character, and self-determination in putting out the most authentic sound possible. Filled to the brim with a range of hip hop bangers, to motivational and inspirational songs, previously released singles “Big Dreams” and “Low Key” were only a palette cleanser for the breadth of insight found within the melodies and lyrics of this immense musical effort.
To suggest this is just a hip-hop record may disservice the myriad of genre influences that season this record to perfection; piano themes, heavy guitar riffs, dark synths, and trap drums cascade effortlessly across love songs and club anthems just the same. Another indication of TPB’s persistence, apart from this album’s incredibly deep tracklist, is that he has another 24-song record ready to go.
An artist raised on the streets of Toronto, TPB has an origin story like no other… Overcoming adversity and defying the odds has been imprinted into his DNA from the time he immigrated to Canada as a young teen. The obstacles faced during his years in the group and foster care system have informed the profoundly personal perspective embedded within the entirety of his musical catalog.
TPB’s artistic method extends past his general philosophy of self-awareness and personal growth; his recent decision to remove all social media-based services and focus on music platforms, where he continues to find tremendous success, illustrates the old-school approach he takes when representing his art.
We currently live when carbon copies of the most prominent artists are trying to make a quick buck. When the history books recount the many gains and losses throughout society in 2021, Toronto Poor Boy’s music’s inspirational aura and infectious energy will be amongst the most promising artistic contributions from this period.
“No Stressing” and Until the End of Hurting Times are available now.
Kurt Cobain Directed A Horror Movie As A Teenager. Here It Is.
In 1984 Kurt Cobain, Dale Crover, and Krist Novoselic recorded this video on the streets of their hometown, Aberdeen, WA.
The King Of Gospel Music: The Life And Music Of Reverend James Cleveland To Be Released September 21
Malaco Records announces the September 21 publication of The King Of Gospel Music: The Life And Music Of Reverend James Cleveland, a stunning reflection on the unparalleled artistry and towering influence of the Gospel giant. Written by Grammy Award-nominated historian Robert Marovich (The Gospel According To Malaco) with a foreword by Gospel superstar Kirk Franklin, The King Of Gospel Music traces James Cleveland’s evolution as he boldly incorporated the modern musical conventions of soul, pop, and jazz into worship music and became a star and beacon to aspiring Gospel singers everywhere.
Alongside the archival photos and academic insight into Cleveland’s life and art, The King Of Gospel Music is accompanied by a 4 disc set that features over 50 Cleveland recordings, from definitive performances to lesser-known jewels from the catalogue. This is the first time selections from Cleveland’s Apollo, HOB, and Savoy sessions have been combined into a single collection.
Listen to “Oh What a Time,” Rev. Cleveland’s first vocal solo with the Gospelaires featured on The King Of Gospel Music.
And check out a special “Medley” from the collection as well below:
“James Cleveland sings the Horns off the Devil,” wrote David Jackson in The Village Voice, and listening to Cleveland’s recordings today remains a uniquely ecstatic experience. Born on the South Side of Chicago in 1931, Cleveland came from humble beginnings, singing in front of Thomas A. Dorsey at Pilgrim Baptist Church. Unable to afford a piano, as a child he improvised, practicing on his windowsill. In 1950 he formed the Gospelaires, a short-lived group of members of the Roberta Martin Singers, a gospel ensemble for whom he wrote songs.
Cleveland’s early songwriting credits incorporated a bluesy lilt that put him miles ahead of his peers. By the 1960s, he blossomed into a bonafide star, outselling his competitors and becoming an oft-imitated influence on choir directors across the country. His 1963 live album, Peace Be Still, was a resounding success, selling almost a million copies to a predominantly Black audience with scant mainstream promotion. His compositions were adventurous, incorporating the vocabulary of jazz and R&B fluently as his rich voice alternated between raspy narrations, rousing hymnal refrains, and enraptured praise. While he passed away at age 59 in 1991, his music lives on in the generations who devoured his records and attend his annual Gospel Music Workshop of America.
Says Kirk Franklin: “A great architect always builds an edifice that can outlive the builder and be dwelt in for generations to come. That’s exactly what James, the architect, did for me. His melodies, showmanship, and commitment to the message in the music created the foundation for a young homeless kid like me who needed to learn the secrets of building his own. So we remember him, celebrate him, and honor him by continuing to add to his incredibly legacy — the architect of gospel music — James Cleveland.”