Phoebe Willo Crowdfunds over $30,000 via SongBits and Music GatewayBy aligning with SongBits and Music Gateway, independent and unknown artist, Phoebe Willo, raised over $30,000 by allowing fans to invest in her latest single. Both companies launched with the purpose to empower the independent artist and prove that fans want to support artists on a business level by investing for a piece of ownership in a project; in this case, streaming revenue on Phoebe’s latest single, “Lost in the Music.” A revolutionary new form of crowdfunding moving into the future, fans can now share in the success of an artist’s project. 

Music industry icon Dave Stewart — the Rock & Roll Hall of Fame, award-winning singer, songwriter, musician, producer, innovator and Eurythmics co-founder — is a co-owner of both SongBits and Music Gateway. “This is a precursor to big news coming,” says Stewart. “I am always thinking of ways to help new artists and this is a colossal one. I have always been heavily involved in paving the way for artists to survive in this fractured music business. At a time when actors and writers are on strike, music has always been the low hanging fruit, the sacrificial lamb so to speak.”

SongBits is a game-changing new platform that creates all-new levels of fan engagement, quick and effective new revenue streams and vital new data insights for artists and labels. Co-founder, Russell Sheffield shares: “Phoebe clearly has incredible talent and is one to watch. SongBits is all about supporting incredible talent whilst enabling fans to share the value of their songs. For the first time, creating a unique and true partnership together through harnessing the power of Web3.”

Music Gateway’s mantra is to empower independent artists by providing promotional services across playlisting, radio, press and digital media, leveling the playing field for artists across the globe. Jon Skinner, CEO & Founder of Music Gateway, says: "Dave Stewart has been part of our journey since the very beginning. Being a huge advocate for collaboration, he saw the huge potential in what we set out to achieve. Dave is a valued shareholder and plays a vital role on our advisory board. On a personal level, Dave is just amazing to work with and his ideas are endless." 

SongBits

Music Gateway

Anghami welcomes $5m investment from SRMG VenturesSRMG Ventures is the venture capital arm of SRMG (Saudi Research and Media Group); SRMG claims to be the "largest integrated media group in MENA"
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Triller’s S-1 filing claims 550M users, but its app installs fall far short, new data showsTikTok competitor Triller is preparing to go public, but estimates from Apptopia call its self-reported user numbers into question.
Per Triller’s S-1 filing, the short-form video app has had 550 million lifetime sign-ups. But market intelligence firm Apptopia estimates that Triller has been downloaded just 73.2 million times since launch in 2015 — that’s 87% lower than Triller’s own reports. Apptopia’s data is only inclusive of mobile app installs, which means if Triller’s numbers are correct, the remaining deficit would have to come via web sign-ups.
Apptopia, a popular source for app analytics, says that its estimates are 70% to 90% accurate, on average. The company has hundreds of clients, including Visa, Andreessen Horowitz, Coca-Cola, Target, Zoom and others.
Reached for comment, Triller maintains its numbers are accurate. But this isn’t the first time its own numbers have come into question.
Image Credits: Apptopia
When Triller attempted to go public via SPAC in 2021, Billboard reported that the company claimed higher user numbers to the public than it did to music rights holders. In a December 2019 press release, Triller said it had 26.5 million monthly active users, though sources told Billboard that its user base was actually half the size; then, when Triller said it had 50 million monthly active users, Billboard’s sources said this number was actually closer to 25 million.
Triller CEO Mike Lu said at the time that “there is no legal definition of MAU/DAU.” (MAU and DAU are standard industry metrics used to measure an app’s monthly or daily active users.)
“Triller’s value is in monetizing users, not MAU or DAU. In the past, the press has had a hard time understanding this,” he told Billboard.
On the Google Play store, Triller’s download numbers also look relatively low. Google Play indicates that Triller has over 10 million downloads. This could mean that the app has been downloaded anywhere between 10 and 50 million times (Google Play has badges for 10+ million downloads and 50+ million, but no designations in between).
Triller has had several more bizarre legal dalliances throughout its existence, beyond just debates over user numbers. In the last few years, Triller faced individual legal actions from Sony Music, Universal Music Group and Timbaland and Swizz Beatz, all of whom accused Triller of owing them millions of dollars in missed payments. In the case of the UMG dispute, Lu described it as “a bad ‘Punk’d’ episode.” The company was also found in a Washington Post report to have missed many payments to creators in a Triller incubator program.
Image Credits: Apptopia
Apptopia’s estimates also found that users spend, on average, about 11 minutes per month per device on Triller. Triller didn’t confirm the figure, but a spokesperson told TechCrunch that it “is not something that has any relevance to our business model.”
Per its S-1, Triller earned $47.7 million in revenue in 2022, but it has lost money each year it’s operated. The company lost $195.6 million last year, and in 2021, it lost $773.6 million.

Triller’s upcoming listing likely won’t resurrect the US IPO market

Fred again.. teases new song with vocals from Selena GomezFred again.. has teased a new track featuring vocals from pop artist Selena Gomez at a live set which he performed last weekend.
The unreleased track also appears to sample a 1976 hit titled That’s All Right by Laura Rivers.

READ MORE: Fred again.. reveals bass sound in Jungle came from a dodgy cable

News of the suspected collab broke via X (formerly Twitter), where fan footage has been shared of the DJ set which seem to feature Gomez providing airy and ethereal vocals. Check it out below:

A fan filmed what seems to be a new Selena Gomez song (with Fred Again)
pic.twitter.com/fnCygCngBj
— Selena Gomez Charts (@SGchartupdate) August 20, 2023

Though no official confirmation of the track or a potential release has been provided, a glimpse of Fred at work on his laptop via an Instagram story shows the words “Selena LEAD” in his DAW.

Fred Again confirms upcoming song "That's Allright" with Selena Gomez via Instagram. pic.twitter.com/IlxTEnA52J
— Selena Gomez Charts (@SGchartupdate) August 20, 2023

The teased song lands shortly after Gomez announced she would be releasing a single of her own this Friday (25 August).
The track, titled Single Soon, is produced by Benny Blanco and Cashmere Cat. “Y’all have been asking for new music for a while,” Gomez wrote on social media about the release.
“Since I’m not quite done with SG3, I wanted to put out a fun little song I wrote a while back that’s perfect for the end of summer.”

View this post on Instagram

A post shared by Selena Gomez (@selenagomez)

Fred again.. however, has recently released track adore u which samples Obongjayar’s 2022 song I Wish It Was Me. Both the original track and Fred Again..’s release are dedicated to the artists’ siblings – Fred’s to his younger sister and Obongjayar to his younger brother.
The track debuted during his killer set at Glastonbury Festival earlier this Summer, where the producer, who’s real name is Fred Gibson, took to the Other Stage on Friday 23 June. MusicTech attended his set in person, where we watched as “not a single person stood still” during Rumble, the collaboration made with dance music icon and close collaborator Skrillex, featuring UK grime artist Flowdan.
To keep up to date with the latest releases from Fred again.., keep an eye on his official website.
The post Fred again.. teases new song with vocals from Selena Gomez appeared first on MusicTech.

The Aphex Twin machine causes chaos at Field Day 2023Although it’s a bright, sunny Saturday at Field Day in East London’s Victoria Park, there’s a dark sense of devilry in the air. The past two editions of the All Points East-partnered festival have showcased brighter disco house flavours. It’s evident, however, through this year’s emergence of mullets, black string vests and LSDXOXO and Juliana Huxtable playing techno at 4 pm, that 2023’s edition has been cast over by a towering shadow – Aphex Twin, who headlines at 9.25 pm.

READ MORE: Aphex Twin shares two archival tracks via ‘secret’ Soundcloud account

Cult followers have come out in full force, draped in logo-clad merch, to support the rare performance – one of just 22 since 2019. Murmurs of Richard D James ruminate through the site’s trees, landing at bars and toilets, where AFX nerds proudly show off their credentials. It feels like an Aphex Twin convention.
So, when the sun falls and stages close, the fixated faces of those who find pleasure in experimental sonics descend on the East stage, where Aphex Twin is set to shock, entertain and confuse.
And confuse he does. The Windowlicker and Syro creator, who recently released his first EP in five years, dives headfirst into a mind-boggling, intoxicating concoction of techno, rave, breaks, electro and… well, lots more genres. Glances of horror are shared between friends who didn’t get the memo. Others, who did, grin. Some try – and fail – to dance to the music.
Towards the end, no song seems to maintain the same groove for more than 16 bars. A muffled techno track starts with a four-by-four beat but then flings off in all manner of directions. It’s tough to pick out a particular song from the mix, which results in a hushed, bewildered crowd.
Image: Andrew Whitton
Hundreds of lasers set the sky ablaze. The Aphex Twin machine is unstoppable. The stage does feel like a machine – a huge, malfunctioning thing that’s been hacked by an AI rave robot, spurting as many genres into the chaotic output as possible. Chaos is the ultimate adjective to summarise Aphex Twin’s headline show at Field Day 2023.
Nearby tower blocks are illuminated by the show’s giant visuals, provided by Aphex Twin’s resident visual artist, Weirdcore. Filling the screens on either side of the stage, the walls behind Aphex Twin’s live setup and on a lightbox hovering above his head, they dramatically dart like strobes through morphing, evolving AI-driven images of machinery. At one point a contorted image of King Charles appears; at another, it’s the late SOPHIE and Charli XCX that are given the Aphex face treatment, to the delight of the crowd.
Does the show work in a festival setting? In many ways, no. It’s hard to engage with, especially if you’re standing further back, and in this case, with such a big crowd, that is the case for many. But has an Aphex Twin show ever been easy to engage with? The idea is to stand back and let the barrage of sounds and sights wash over you.
That’s just what the crowd do, as they embrace and bask in the Warp Records star’s genre-bending brilliance. Whether you’re confused, amazed or tripping balls, Field Day goers can agree on one thing: after 30 years, Aphex Twin is still pushing the boundaries of music. It’s thrilling to witness.
Did you miss Field Day this year? Keep an eye on fielddayfestivals.com for any information regarding Field Day 2024.
The post The Aphex Twin machine causes chaos at Field Day 2023 appeared first on MusicTech.

Pro-Ject’s new T2 W turntable features WiFi connectivity for 24bit/48kHz lossless streamingUp your turntable game with Pro-Ject’s latest T2 W record player which uses WiFi instead of Bluetooth for its wireless connection.

READ MORE: “At the end of the day, audio processing is much more important to me than the source”: Techno artist Levon Vincent weighs in on gear

Positioned as a step up to the brand’s non-WiFi T1 turntable, the T2 W allows seamless streaming to a wide range of modern network-enabled audio devices, including HiFi streamers, network-enabled home theatre A/V receivers and speaker systems
According to Pro-Ject, the T2 W’s streaming tech uses the latest WLAN standards combined with 2 x 2 MIMO tech for “faster transmission speeds” and “greater stability”. The deck is also highly versatile, allowing for streaming in standard compressed format or in 24bit/48kHz lossless for selected high-end streamers like the Stream Box S2 Ultra.
All this is multiroom capable as well, meaning you could send hundreds of audio streams to as many receiving devices as you like. Streaming on the turntable can also be operated via the new Pro-Ject Control App, for a truly hands-off experience.
Other key features include a dual-stage, split-passive MM phono preamp – a first for the brand, a 9-inch one-piece aluminium tonearm, and a “zero-resonance” glass platter that has been made heavier and thicker compared to its predecessor. The turntable also comes with a new adjustable spring-based anti-skating mechanism that optimises performance and extracts the utmost potential from your cartridge.
Meanwhile, the motor and drive system in the T2 W remain identical to those found in the T1, though the deck does come with a Sumiko Sumiko Rainier MM cartridge so you can enjoy high fidelity audio straight out of the box.
Available in black, satin white and walnut finishes, the T2 W is priced at £899 and can be purchased from September 2023.
Learn more at project-audio.
The post Pro-Ject’s new T2 W turntable features WiFi connectivity for 24bit/48kHz lossless streaming appeared first on MusicTech.

Spotify reportedly losing $38 million per year due to white noise podcastsSpotify is missing out on an estimated $38 million by unknowingly steering listeners towards less cost-effective white-noise podcasts, it’s been reported.

READ MORE: Elon Musk’s X platform files to dismiss music publishers’ $250 million copyright lawsuit

The podcasts in question feature atmospheric soundscapes such as white noise, bird song, crashing waves, or static. They don’t feature any talking and are usually created to help listeners sleep or provide background noise for studying or working.
According to a report by Bloomberg, white noise podcast creators might be earning up to $18,000 per month through advertising. They account for three million daily consumption hours on Spotify as of January 2023, a number that’s been propelled by the platform’s algorithmic push for ‘talk’ content.
Spotify considered removing white noise podcasts due to their popularity, Spotify told Bloomberg, directing users to more cost-effective programming, which could increase the company’s annual gross profit by $38 million. However, this proposal did not come to fruition, and white noise podcasts continue to be available on the platform.
Now, white noise podcasts are vanishing from accounts, according to one Reddit user, and episodes are going missing.
It’s not the only time Spotify has been in the spotlight for its financial goings-on recently. In July, ​​Spotify’s CEO Daniel Ek sold $100m worth of Spotify shares – 675,000 shares in total. In the same month, the streaming platform increased its Premium subscription price for the first time and introduced a new ‘Supremium’ tier, which offers CD quality and expanded access to its audiobook library.
Read more Spotify news via musictech.com.
The post Spotify reportedly losing $38 million per year due to white noise podcasts appeared first on MusicTech.

YouTube launches AI Music Incubator with UMG, Announces AI PrinciplesYouTube has published its first set of AI music principles and launched a YouTube Music AI Incubator with artists, songwriters, and producers from Universal Music Group. Incubator launch artists include. Continue reading
The post YouTube launches AI Music Incubator with UMG, Announces AI Principles appeared first on Hypebot.

SampleScience’s free Modular Synth VCO instrument SampleScience's free Modular Synth VCO instrument promises to provide the distinctive sound of a popular Eurorack module.

“Go hate on someone else”: Paris Hilton fires back at “haters” who accused her of not playing live during DJ setParis Hilton gave a mic-drop response mid-DJ set when two “haters” held up signs accusing the TV personality and DJ of not playing live.
Hilton, who rose to fame during the early 2000s, has been DJing for over 10 years now, and reassured two festival goers at Tomorrowland that she absolutely was playing her set live.

READ MORE: Campaign launched to bring more women into the soundsystem scene

Hilton’s DJing career began in 2012 with her first appearance at Brazil’s Pop Music Festival. According to The Independent, she is reportedly the highest paid female DJ in the world.
Now seen in a newly shared clip on TikTok, during her set on at the electronic music festival back in July, Hilton was captured responding to two audience members who were holding up signs accusing her of playing pre-recorded material.
Hilton shared the clip to TikTok, where she says in the footage, “This is dedicated to the two haters at the front holding signs up saying I’m not playing live, ‘cause honey, yes I fucking am.”
She adds, “Sorry I’m a girl, I’m hot, I’m blonde. We can do everything. Go hate on someone else.” Fans in the comment section have suggested she should mix her response into upcoming sets, and Hilton replied stating she “loved” the idea.
Check out the viral clip below:

@parishilton
Your daily reminder that you can do anything #Tomorrowland #GirlsRule #ThatsHot
♬ original sound – ParisHilton

Discussion surrounding pre-recorded sets has risen over the last week after a clip of producer deadmau5 was newly shared on YouTube in which he suggested that DJs at most major festivals are made to play pre-recorded material due to time restraints.
He has since followed up on his comments by reiterating that he himself is not a DJ, and that everyone should make music in whichever way feels right to them, pre-recorded or live.
The post “Go hate on someone else”: Paris Hilton fires back at “haters” who accused her of not playing live during DJ set appeared first on MusicTech.

Shaquille O’Neal releases dubstep album as DIESELFormer basketball player Shaquille O’Neal has released a dubstep album under the alias, DIESEL.

READ MORE: Armin Van Buuren DJs atop Burj Khalifa, breaks two world records

The ten-track album, out now on Monstercat, is called GORILLA WARFARE and features a host of collaborators such as Crankdat, Jessica Audiffred, Hairitage and CELO. Listen to it below:
GORILLA WARFARE by DIESEL
Since retiring from professional basketball in 2011, Shaq has dived into the world of dance music following an inspiring trip to Tomorrowland in Belgium in 2014. He then DJed himself as DIESEL at the US edition, TomorrowWorld, a year later.
“Dubstep for me has always been an escape. A way to show the world there is more to Shaquille O’Neal than just basketball.” Shaq says regarding the album. “I love this genre and community so much and my album is proof of that.”
“Working with the underground cats like Crankdat, Jessica Audiffred, Hairitage and Celo was an eye-opening experience,” he continued. “Together we created some of the hardest-hitting bangers ever. After over 2 years in the making, we are all so proud of this body of work and cannot wait for the world to listen to GORILLA WARFARE.”
While Shaq’s recent musical endeavours have been more dance-focussed, his rap career in the 90s resulted in four albums – Shaq Diesel (1993), Shaq Fu: Da Return (1994), You Can’t Stop the Reign (1996) and Respect (1998). Shaq Diesel even achieved platinum status after selling over one million copies.

He’s not the only unexpected non-musician to dip their toe into the EDM community. In 2022, Tesla’s CEO, Elon Musk, released a track called Don’t Doubt Ur Vibe, which followed a 2019 hip-hop track called RIP Harambe.
This year, another unexpected name, Manchester City footballer Jack Grealish, made his long-anticipated DJ debut after teasing the name ‘DJ Grealo’ on Instagram. He played alongside Oliver Heldens, as part of a metaverse performance.
Find more Monstercat releases via music.monstercat.com.
The post Shaquille O’Neal releases dubstep album as DIESEL appeared first on MusicTech.