And Now, Two Bits From Geza XBIT ONE: Dub Russell and his INSANE BEAT MACHINE

Picture the console of a spaceship that jumps between dimensions. That’s 2020, a semi-modular beat machine that ditches the timeline for a single window where you manipulate, randomize, wire and perform beats in real time. Its website describes it as a German DAW, a Swedish hardware groove box and a cable-tangled modular synth torn apart and fused into one. Four probability-driven grid sequencers, a sample slicer, loopers, a dozen samplers, a kick synth and two FM synths feed 14 patchable effects, including granulators, bitcrusher, glitch and repeater, with freely configurable routing. Then comes “Dejavu,” which turns every parameter randomizer into a generative sequencer that recalls its own past values. Millions of patterns, and it still surprises. Map it to MIDI, OSC or keyboard shortcuts, sync it through Ableton Link, and let it run. 

A Beat Machine That Thinks for Itself

Yotaro Shuto, who performs as DUB-Russell, started DJing at 15, inspired by the Invisibl Skratch Piklz, then moved to breakbeats on an MPC. He has no formal training in code. He taught himself Max, then C, then C++, all for the love of sound.

The idea behind 2020 was there from the start, back when Shuto first opened Max (ableton.com/en/live/max-for-live/): a beat machine that could semi-autonomously evolve its own patterns. For years he refined it for his own live shows, then decided to pull all of it together into one standalone application.

The crowd agreed. When 2020 hit Kickstarter, it reached 670 percent of its funding goal. “It was much more successful than I expected,” he says. (This was where I first discovered 2020 and I’ve been a fan ever since.)

The hard part came after. The first version lived in Max, and Shuto kept supplying it to his backers for a long time. But staying in Max would make stability and new features ever harder, so he rewrote the whole thing from scratch in JUCE, a C++ framework. “That was really, really hard. I underestimated how difficult it would be,” he admits, recalling how new problems forced him to start over “again and again.” His verdict: “I never want to go through that again. Haha.”

The payoff is a semi-modular environment with enormous routing freedom. The interface looks complicated, but it is built for live improvisation onstage. Shuto’s DJ experience shaped it, and the design pairs open routing with several ways of “taming randomness and making it musically useful.” The result surprises even its creator. “Even I, as the developer, can sometimes create beats that surprise me.” (Editors note: That is the understatement of the century!)

He keeps it moving on his own. Nearly every feature gets reworked and improved regularly, and he does it all alone. He’s also 2020’s “biggest and most obsessive user,” so he enjoys the work. Sometimes he links multiple computers running the app to one another or uses multiple screens and projectors.

Glitch With a Tribal Pulse

Shuto’s own music is where the machine’s personality shows. He describes his approach as using noise and Japanese glitch techniques “while aiming for something that feels more like tribal music.” On paper that clashes with software that looks IDM-oriented, and he knows it. What he’s chasing is “a much more raw and organic groove.” Add to that the sophisticated and surprising self-evolving elements created inside 2020, and you have a whole new form of magic! 

Intelligent Dance Music (IDM) is an experimental genre of electronic music from the early 1990s characterized by individualistic studio experimentation rather than fixed dancefloor conventions. Key artists include Aphex Twin and Autechre.

Is he more programmer or DJ? “Both. I really enjoy doing both.”

What’s Next

Shuto says he finally has a clear path to the features he originally imagined for 2020. After that comes a Windows version, and he says there is plenty left to explore.

Get 2020: Available now on the Apple Store. More at 2020.dubrussell.com.

BIT TWO, WHY VINYL?  

Files And Artwork

Last time I promised to walk you through the obstacle course of vinyl production. Fasten your seat belt, it’s a trip. Let’s start at the first hurdle, the one that trips up almost everybody: the files you hand the plant.

Your audio is a size problem, not just a mixing problem. 

Vinyl is a physical format, and a groove can only hold so much. For a 12-inch LP, the commonly recommended maximum is about 22 minutes per side, and 18 to 20 is safer for loud or bass-heavy material. The more minutes you cram onto a side, the quieter and thinner it has to sound. The loudest record I can think of is Daft Punk’s Around The World, which is notorious for skipping on some record players. That’s what hot BASS is all about.

Heavy low end that’s wide in stereo, harsh sibilance and hot, overloaded peaks can all cause trouble when a lathe cuts them into a groove, and that can mean skipping or distortion on the finished record. A mastering engineer who cuts for vinyl knows how to tame them. Mastering for streaming and mastering for vinyl are NOT the same job. Abandon all hope when ye enter here. For the record (pun intended) a dynamic range of 12db is recommended and its best to minimize everything below 30 hz and above 12k.

Then check the plant’s spec sheet, because it is never the same twice. Every plant publishes its own requirements for audio format, track labeling and side breaks. You will want to provide a “cut sheet” listing track titles, the order, the gaps, length of each track and total per side.

Artwork is where deadlines go to die. Your jacket and label art must be built on the plant’s own templates, not a generic one from the internet. Expect requirements on resolution, color mode, bleed and safe zones. Don’t be surprised if the plant sends your art back a number of times if it’s the wrong format, created in the wrong art app, doesn’t fit the template right…I mean it can be daunting to say the least. Using an artist who is familiar with print specs is recommended.

Before you send anything:

• Check each file against the current spec sheet, not an old email. Requirements change frequently.

• Listen to your master on more than one system. Make SURE it isn’t over compressed.

• Have someone else proof spelling, track order and credits. A typo on a printed jacket lasts forever.

• ALWAYS get a test pressing. If you’re short of cash or in a hurry, a “digital test pressing” is ok since it’s made from an actual pressed disc.

Or hand the project to someone who jumps through these hoops for a living. This is exactly why I do what I do. A professional vinyl broker and project manager knows each plant’s quirks, catches problems before they become rejected orders and missed release dates, and gives you one honest, all-in price. You stay focused on the music while someone else keeps the process on track.

Next time, we’ll look at what happens once the files are accepted. That’s when the real fun begins.

Geza X has legendary status as an independent producer and proponent of the DIY recording scene. He can be reached at gezaxrecords.com.

The post And Now, Two Bits From Geza X first appeared on Music Connection Magazine.

Harry Styles residency boosts MSG Entertainment as revenues rise 37% to $217M in calendar Q3Plus: what MSG Entertainment’s CFO said on the earnings call about bookings, residencies, and demand
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Xikers Opens New Chapter with ROUTE ZERO : The CALLINGSince debuting in 2023, 10-member K-pop group xikers has made its mark with an adventurous sound that moves from EDM and hip-hop to rock and horror-inspired lore. That spirit of experimentation carries onto the stage. At 82WORLD: LA, the group won over the crowd with tightly synchronized, high-energy choreography, even slipping Adéla’s viral dance of "Ain't in LA" into a performance of “Breathe.” The group continues to pursue and challenge their fresh artistic vision with each musical release.

The group’s name blends “x,” a variable representing unknown coordinates, with “hikers,” capturing the members’ journey through infinite time and space. Since signing with KQ Entertainment—the label behind powerhouse group ATEEZ—Minjae, Junmin, Sumin, Jinsik, Hyunwoo, Junghoon, Seeun, Yujun, Hunter, and Yechan have continued to chart their own course. Their eighth mini-album, ROUTE ZERO : The CALLING, opens a new chapter for xikers with several members contributing to its production. Ahead of their 82WORLD performance, xikers spoke with Music Connection about bringing fan favorites to the stage and the making of ROUTE ZERO : The CALLING.

Since we're at 82WORLD: LA today, how would you describe a performance from xikers?

Sumin: it's legit, cool, and hot. And we prepared a lot of songs and also some bangers in there, so look forward to it.

Is there a song you guys like to perform?

Seeun: "Do or DIE" is my favorite song to perform in front of Road𝓨 because it’s a really exciting songs and many Road𝓨 like it.Jinsik: "XIKEY," it’s power is insane.

Do you have any rituals or routines before going on stage?

Yujun: My routine before going on stage is to eat a good, hearty meal—I make sure to fill up so that my energy doesn’t drop while I’m performing.Yechan: Heading onto the stage, I usually run through the songs I’m performing that day in my mind. I also make sure to warm up my voice thoroughly, and—since I’m getting older and my physical well-being has become increasingly important—I take care to warm up my body as well, just to avoid any injuries.

Is there a song that's the hardest to perform live?

Junghoon: "XIKEY," the one Jinsik mentioned earlier, might be a bit difficult to pull off because the performance is so intense, it’s been challenging to execute it live.

You guys are always touring, always on the go, and do some intense choreographies as well. How do you make sure your vocals and your bodies are in tip-top shape

Hyunwoo: Whenever I travel to countries with a significant time difference, I tend to have a lot of trouble getting to sleep. So, I make sure to catch some sleep whenever I can—even if it’s just in short bursts—and I always wear a mask when I sleep.Sumin: I drink some ginger tea and also eat lots of carbs and proteins, and workout everyday.

If you could select one song from your whole catalog to recommend to someone, which song would it be?

Junmin: I think "XIKEY" is the most impressive performance of ours, so I’d recommend that one. It’s a track that’s bursting with high energy from start to finish—I think it’s the kind of song that can really recharge the energy of anyone watching, which is why I’d like to recommend it.

As a group, how do you encourage each other during busy schedules or moments when things become challenging?

Seeun: Well, whenever the other members seem to be struggling or not feeling their best, I go over to offer words of encouragement and support, share some praise, and even give them a hug—I think I help boost their morale that way.

Your comeback is on November 2nd. Can you tell me a little bit about ROUTE ZERO: The CALLING?

Minjae: The title song is "DIENAMITE," and is made by ourselves, all of us. We put a lot of effort into some new and fun ideas in the whole album, this is going to be the opening of a new chapter by xikers, so please look forward to our 8th EP.

How is this project different from the first one of the series, ROUTE ZERO : The ORA?

Minjae: As an album, we do not try to make a lot of differences, we try to maintain that vibe and mood of our previous albums. Like I said before, we try to put more of our ideas and our sound just by ourselves. The main title track was made by us, there's no credit with other producers and other engineers.

Were there any challenges since you were working on the song by yourselves?

Hunter: The challenges were definitely the choreography because for this time, it's a choreography that uses kind of like angles that we've never used before, like Michael Jackson angles and stuff like that. And so we had to really watch a lot of Michael's performances and try to capture the essence of his gestures and like his little “ah” vibe that he gives when he dances. So that was quite a challenge for us.

Looking back as a time as a group, what's the coolest thing the group has accomplished so far?

Xikers (in unison): Billboard charts.MC: Anything else?Jinsik: Since the time spent preparing for my debut was quite long, I think the very fact that I finally debuted is, perhaps, my greatest achievement.

Since you mentioned your debut, what's one thing that you've learned?

Jinsik: I’d say that before I debuted—or rather, before I even became a trainee—I mostly did things on my own. But since becoming a trainee, I’ve ended up doing a lot of things together with others, so I think my teamwork skills and my ability to navigate social environments have really improved.

Any fun activities or hobbies that any of you guys have gotten into?

Hyunwoo: To start off, I’m a huge fan of soccer—and sports in general. Whenever I can, I go to watch matches in person, though most of the time I watch them on screen. I also mostly play soccer-themed video games.Seeun: I like baseball, so I like playing baseball with Hyunwoo.Yujun: I collect Pokémon cards.

Xikers' 8th mini-album ROUTE ZERO : The CALLING is available now on all global digital streaming platforms, with its US physical release set for November 6 

The post Xikers Opens New Chapter with ROUTE ZERO : The CALLING first appeared on Music Connection Magazine.

‘Supercharged’ royalties, Downtown’s margins, and cost cuts: What I learned from UMG’s Q3 earnings callThe latest 'Tim's Take' from Music Business Worldwide founder, Tim Ingham
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Born 57 Years Ago Today, The DJ Behind One of the 1990s' Most Unusual Dance HitsRobert Miles created one of the 1990s' biggest dance hits with "Children." Discover the surprising story and tragic inspiration behind the iconic instrumental.

Assignments: Annie ChristensenVP, Catalogue

Warner Chappell Music UK

Warner Chappell Music UK (WCM UK) has announced the appointment of music executive Annie Christensen as Vice President, Catalogue. She will report into WCM UK President, Shani Gonzales.

“Warner Chappell Music holds one of the most storied songbooks in music history, so it'll be a huge privilege to help lead the strategy that connects these classic songs to brand new audiences," Christensen said. "Having spent my career on the frontlines of A&R, I’ve gained a unique perspective on what truly resonates with fans.”

For more, contact communications@warnerchappell.com.

The post Assignments: Annie Christensen first appeared on Music Connection Magazine.

FTC and four states demand jury trial in BOTS Act lawsuit against Live Nation and TicketmasterThe US Federal Trade Commission and four states have demanded a jury trial in their lawsuit against Live Nation and its ticketing subsidiary, Ticketmaster. Colorado, Florida, Illinois, and Nebraska joined the FTC in the demand, which was filed in federal court in Los Angeles on Tuesday (October 27). The lawsuit alleges that Live Nation and … Continued
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Predictable #AI #Music remix and cover generator at #Spotify all-in-one, it's #MusicBusiness

How One Line Reveals a Different Side of David Bowie's Most Famous Space AdventureDavid Bowie's "Space Oddity" tells a haunting story of space travel, but one unexpected lyric reveals a surprisingly different side of the song.

Reverend Horton Heat at Cat’s Cradle, Carrboro, NCWeb: reverendhortonheat.com

Contact: sethweiss@atomicmusicgroup.com

Players: Jim Heath aka Rev. Horton Heat, guitars, vocals, preachin’; Jimbo Wallace, bass, double bass, vocals; Jonathan Jeter, drums, percussion

This wasn’t just a show—it was a psychobilly sermon that erupted into a rockabilly riot the moment this three-alarm fire walked onstage. And there can be no doubt: rockabilly is alive and well in the church of what’s happening now, and its Pastor, Prophet and Minister of Groove is the Rev. Horton Heat hisself!

Tonight, the Reverend Horton Heat took the scenic route to Bedlam, and this enthusiastic, very vocal crowd went right along with him—no questions asked—drenched in a sermon of guitar groove that never let up.

Maybe that’s the whole point. It was loud, immersive and loaded with rockabilly guitar and boogie riffs that had every player in the crowd salivating, anxious to get back to the bedroom and practice what they’d just witnessed. From the first notes of “Bullet,” “Baddest” and “Rock ’n’ Roll Now,” it was a rockabilly wet dream—and you could hear every shade of the groove imaginable.

Think early Carl Perkins on a bus driven by Wanda Jackson, with Scotty Moore loading the bags, Gene Vincent serving Mai Tais, and the great Cliff Gallup and Brian Setzer playing cards in the back and shouting out the roadside attractions. Oh, and maybe a little bit of the Centuries thrown in for good measure.

It’s high-energy proto-punk, and the songs are wildly creative in that unmistakable groove-a-billy style. Tucked among the next three rockers was “Teach,” a beautiful, down-tempo billy-ballad that clearly demonstrated the Reverend’s remarkable touch. 

This trio was on fire, and the bass player was tearing through the rockabilly bass lines with complete insanity. His white shock of hair flew this way and that as he slapped and slammed that poor bass into submission. Stop! Help! Police!

“Galaxy,” “Do I Love You” and “Big Red Rocket” showcased another side of this groove machine. Playing rockabilly that fast can obscure just how schooled—and downright musically sophisticated—these boys really are. “D for Danger” and “I Can’t Surf” revealed a sonic intelligence that could easily be missed amid all the glorious commotion.

Brian Setzer and the Stray Cats pulled this genre out of the dusty trunk of lost and discarded grooves. The Reverend grabbed that torch, poured gasoline on it and headed straight down the tracks.

This band has complete control of the madness. They take it to the edge, balance it on a shoestring fifty floors above the pavement, then lower you so smoothly that you think you’re fine—until the next song hits like the hot kiss at the end of a wet fist. The post Reverend Horton Heat at Cat’s Cradle, Carrboro, NC first appeared on Music Connection Magazine.

"Newly Sentient Being" By SwansYoung God Records/Mute

Producer: Michael Gira

This marathon two-hours and 41-minute live album, recorded in Berlin last November, captures Michael Gira and his gloriously perplexing experimental collective Swans closing out their so-called “Big Sound” era. An endlessly evolving prism of chaos, it seamlessly moves from soothing to hypnotic to unapologetically savage.

The mélange spewing forth feels as if birthed from some unholy reality, leaving humanity the task of figuring out what to do with it. An accompanying DVD is also included.The post "Newly Sentient Being" By Swans first appeared on Music Connection Magazine.

It was obvious that one sale of 1 CD on your web page to your listeners brings you more 💵 than several years from streaming if your artist is not that big - new/old #MusicBusiness

Trueblood Signs With Mercury RecordsDate Signed: January 2026

Label: Mercury Records

Band Members: Cameron Trueblood, drums; Dylan Trueblood, guitar; Mason Trueblood, vocals, guitars; Ethan Trueblood, bass

Genre: Alternative Rock

Management: Allison Kaye

Booking: Megan Glendinning

Legal: Nicky Stein

Publicity: Marisa Bianco, Katie O’Gara

A&R: Jake Levensohn

Web: truebloodtheband.com

It’s almost as if their last name was tailor-made to reflect their musical ambitions. The four brothers (Cameron, Dylan, Ethan, and Mason) in Trueblood started making music together during COVID when they were no more than 6, 8, 10, and 11 years old. With the world on lockdown, it was one of the few activities at their disposal at home. 

The boys began playing shows after the pandemic lifted, even when hardly anyone noticed. They once rocked out in front of a candle shop tucked behind a bar. “We had a two-hour time slot, and maybe four people walked by,” reports Cameron, the alt-rock group’s drummer. 

In August of 2024, they did their thing on the beach for around 300 people. At the time, that was their biggest show ever. “I was so excited,” exclaims Ethan. “I talked to my friends about that for the next few months.” That could have been their last show ever, given that Cameron was applying for college and Dylan wasn’t far behind. 

But come November, they posted a video on TikTok of a Linkin Park cover, and it went viral. A series of songs on social media followed, ultimately generating a billion views. “That made us start taking all this much more seriously,” claims vocalist Mason. 

They began uploading tracks to DSPs in 2025 and the natural next step was to start building a team. “Our parents helped us a lot as we were navigating finding a lawyer and a manager,” says guitarist Dylan, pointing out that they were all minors at the time. They did just that and subsequently let their management field label offers, one of which came from Mercury Records. 

“Mercury impressed us the most,” flatly states Mason. Adds Dylan, “We’ve been really grateful for all the work they’ve done. We love the team.” The fact that the label’s reps came to see them play, rather than just speak with them over Zoom, led the teens to feel comfortable joining the UMG family.

Since inking the deal, the Trueblood siblings have worked with a modest galaxy of megastars, including Maroon 5, Black Eyed Peas, sombr, and Coldplay. It’s something that likely wouldn’t have happened without the label’s backing. They also connected with producer Andrew Goldstein, who helmed their recent 5-track EP, First Impressions. 

“For us, signing with Mercury was a form of motivation,” insists Mason. “They kind of put a seed in our brains of taking the right path.”

Listen for their song, “Come Back, I Miss You,” on the EA SPORTS FC 27 Official Soundtrack.

Photo by Jordan WilletThe post Trueblood Signs With Mercury Records first appeared on Music Connection Magazine.

UMG’s share price closes up 7.9% – adding around $2.5B in value – after Q3 subscription growth beats forecastsAt its peak today, the rally added around USD $4.8 billion (EUR €4.3bn) to UMG's market capitalization.
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How Johnny Cash's Final Masterpiece Changed a Nine Inch Nails Song ForeverJohnny Cash gave Nine Inch Nails’ “Hurt” a whole new meaning with a deeply personal cover that became one of the most memorable recordings of his career.