Family Stereo Signs With Bella UnionDate signed: April 2026Label: Bella UnionType of Music: Singer-songwriterManagement: Northern Lights ManagementBooking: Free Trade AgencyPublicity: Charm School MediaA&R: Simon RaymondeWeb: familystereo.net

The end of July will see Family Stereo, AKA singer-songwriter Blake Watt, release his debut album The Thread, a fact that was announced recently by the label which is his new home, Bella Union. “An album of folk-tinged and brush-stroked reflections on distance and connection, The Thread is both dynamic and subtly cinematic, its artfully crafted precision the work of a fast-maturing talent,” a statement by the label reads.

There is, therefore, a lot to celebrate for Family Stereo in 2026. But this is no overnight success story. Watt has worked hard to get to this point."

“I’ve been writing and releasing music as Family Stereo since I was about 17 years old,” he says. “I went off to university and studied drama, and then when I got back decided that I wanted to pursue music properly. I wouldn’t say it got ‘serious’ until we signed with Bella and started working on the first LP.”

The Family Stereo sound was initially centered around fast-paced indie pop. “I grew up listening to Joy Division and The Smiths, so I was just trying to replicate the energy of Joy Division, and the poetic writing and singing style of Morrissey,” Watt says. “I basically learnt to sing by listening to him. But then I got much more into American indie-folk singer-songwriters at university, people like Elliott Smith and Adrianne Lenker, and they turned my head completely, and I haven’t really looked back since.”

Watt’s deal with Bella Union came when Simon Raymonde (label founder and member of the Cocteau Twins) heard the Family Stereo song “Matter” from the first EP.

“We started emailing back and forth,” he says. “He liked the track but was a bit tied up at the time with other stuff. I kept pestering him though, and after about a year we met up and he offered me a deal for the first LP.”

According to a statement, “The Thread arrives in the aftermath of a string of singles from the 25-year-old Blake, son of Everything But The Girl’s Tracey Thorn and Ben Watt.” 

“I recorded it with my bandmate and producer Sam Hodder-Williams at his studio in North London,” Watt adds. “We started recording in September 2024 and finished in July 2025.”

As Family Stereo gets prepared for the release of The Thread, Watt is also steadying himself for a busy 2026. 

“We’re working on the follow up currently, and I’m just trying to keep writing as much as I can,” he says. “I’ve written about five songs I really like. I’m also going off on tour with someone for a few dates next week, so it’ll be nice to play some of the songs off the upcoming record. We’re going back into the studio over summer so that’ll be a good incentive to write some more stuff.”The post Family Stereo Signs With Bella Union first appeared on Music Connection Magazine.

SpaceX officially prices shares at $135 in the largest IPO everWits its official share pricing announcement, SpaceX's IPO has begun.

REPUBLIC Collective strikes joint venture with ZIZA Inc. focused on breaking South Asian artists globallyThe joint venture will prioritize signing and developing artists from the South Asian diaspora
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Evidence for Water Vapor Plumes on Europa Vanishes in Re-AnalysisUnlike on Mars where for decades we have had dozens of orbital and ground-based platforms zipping and scurrying about to prod at every bit of emitted radiation, rock type and twitch of dust devils in its thin atmosphere, for other planets and their moons we have to do a lot more speculative interpretation of data. Such was the case with the presumed existence of water plumes on Jupiter’s moon Europa. These now appear to have been a statistical fluke, per research by [L. Roth] et al. in Astronomy & Astrophysics.
As succinctly summarized in the article on this by [Javier Barbuzano] of Sky and Telescope, the original 2013 finding of said water plumes by the same team was based on faint UV emissions from Europa’s southern hemisphere as captured by the Hubble Space Telescope. However, in more recent captures these emissions were not detected again, leading them to reexamine their original analysis of the 2013 data.
One of the main flaws was in the assumption of where Europe was located on Hubble’s 1,000 x 1,000 resolution detector, with the re-analysis showing that they were off by a couple of pixels. A second flaw was quite understandable as since 2013 we have learned that Europa has a thin hydrogen exosphere which interacts with the Sun’s UV radiation. The resulting scattering induces a UV glow which could be mistaken for UV radiation emanating from the moon’s surface.
Even with this one intriguing feature turning out to be a mirage, it doesn’t make Europa any less interesting as it’s still assumed to have vast liquid water oceans. Along with Uranus’ moon Miranda this makes it very worth it to experience more of the sights and sounds of these alien worlds, whether in person or via our robotic friends.

ETH futures traders lean into $1.6K range lows: Will Ether lead market recovery?ETH traders increased their long positions as Ether price traded near 2026 lows. Will ETH’s rebound eclipse the BTC recovery?

Chordalys Chordalys MoodChordalys Mood Chordalys Mood is a MIDI chord generator designed to turn simple note input into expressive harmonies without requiring deep music theory knowledge. Play a single note and let Chordalys Mood generate musical chord variations based on intuitive mood settings such as Bright, Warm, Dreamy, and Mysterious. The focus is on creativity, inspiration, and discovering ideas quickly rather than navigating complex theory concepts. Whether you're a producer looking for fresh chord progressions, a songwriter searching for inspiration, or a musician who wants to experiment with new harmonic textures, Chordalys Mood helps transform simple ideas into rich musical foundations. Key Features * Generate chords from single MIDI notes * Intuitive mood-based chord generation * Adjustable chord depth from simple intervals to richer harmonies * Designed to encourage creative exploration and "happy accidents" * Lightweight and easy to use * MIDI FX workflow suitable for songwriting, production, and experimentation. Ideal For * Electronic music producers * Synthwave artists * Ambient and cinematic composers * Songwriters * Musicians who want inspiration without theory complexity. Philosophy Chordalys Mood is built around a simple idea: Music software should inspire creativity first. Instead of presenting users with pages of music theory terminology, Chordalys Mood focuses on emotional intent and musical discovery, helping you spend less time configuring and more time creating. Read More

Arturia announce the MiniLab 37 The new MiniLab 37 promises to retain everything that made the original a hit, but offers an enhanced playing experience thanks to an additional 12 slim keys. 

“Designed to adapt to every creative need”: Meet the Arturia MiniLab 37 MIDI controllerArturia has unveiled the MiniLab 37, a compact new 37-key MIDI controller designed to offer “more playability, creative control and software integration” to producers.
Building upon Arturia’s MiniLab 3, the MiniLab 37 adds 12 keys – a full octave – offering a greater musical range.
While the extra 12 keys naturally leads to a greater footprint width ways, thanks to a shallower design, the MiniLab 37 is only marginally larger in terms of size and weight.

READ MORE: The best new music plugins this week, free and paid

Elsewhere, the MiniLab 37 offers all the same DAW compatibility as previous models, with a few new refinements, too. The RGB touch pads are now in a 2 x 4 format instead of a single line above the keys – similar to the beat pads on Akai‘s MPC machines.
Credit: Arturia
The unit also features eight rotary encoders, four sliders and a mini display for comprehensive DAW control, plus a clickable browsing knob to keep everything needed for control in one place. There’s also an Arpeggiator, Chord mode, octave control and semitone transpose functions for inspiration whenever it’s required.
“MiniLab 37 is designed to adapt to every creative need,” says Arturia. “It can be a beginner’s first MIDI keyboard, a compact studio controller for bedroom producers, a secondary desktop keyboard for experienced users, or a portable creative companion for travel and performance.”
Credit: Arturia
The MiniLab 37 is compatible with numerous DAWs, including Ableton Live, Logic Pro, Cubase, FL Studio, Bitwig, Reason, Pro Tools, and Digital Performer. And for the environmentally conscious producers out there, you’ll be please to know the frame is made from 50% recycled plastic – and the packaging is 100% recycled.
The MiniLab 37 is available now, priced at €149. For more information, head to Arturia.
The post “Designed to adapt to every creative need”: Meet the Arturia MiniLab 37 MIDI controller appeared first on MusicTech.

Novation reveal the Launchkey 61 MK4 White Following user requests, the 61-key model in the Launchkey MK4 line-up is now available in the same finish as the Launchkey Mini 37 White and Launchkey 49 White.

Novation unveils sleek white edition of its affordable, NKS-ready Launchkey 61 MK4 keyboard controllerFollowing the launch of white versions of the Launchkey Mini 37 and Launchkey 49 at Superbooth 2025, Novation has once again updated its MK4 keyboard controller range with a crisp, white-and-grey edition of the larger Launchkey 61.
The fresh-looking white Launchkey 61 MK4 bears all the same features as the existing black Launchkey 61 MK4, but offers producers more choice in terms of the aesthetics of their setup.

READ MORE: Sound Workshop announces the Flexur T2, a new hardware synth inspired by the obscure 1930 Trautonium 

It also comes with Novation Play, a kitted out software instrument which packs software emulations of Sequential, Oberheim and Novation synths into a single plugin for Launchkey MK4 and FLkey 2 owners.
For a refresher on the specs of Novation’s Launchkey MK4 series, the keyboards – which comprise six models, 25-, 37-, 49- and 61-key controllers, plus Mini versions for the 25- and 37-key models – are positioned to offer “powerful control” of Ableton Live, Logic, Cubase, FL Studio and other popular DAWs.
Credit: Novation
Like the black version, the sleek new white Launchkey 61 MK4 features semi-weighted keys, plus eight encoders and nine faders for tactile control of DAW mixers, virtual instruments and effects, as well as 16 velocity-sensitive pads with polyphonic aftertouch for playing beats and chords on a grid style interface.
There are also powerful built-in creative tools to aid with ideation, including an Arpeggiator and Chord Modes. There’s also a Scale Mode which locks notes on the keyboard to an assigned key, while the onboard Chord Detector shows the chord currently being played on the OLED display.
Credit: Novation
There’s also the ability to split the keyboard into two independent zones, while Layer allows two MIDI channels to be played from the same keys.
Meanwhile, the unit features a full-sized MIDI out port, meaning you can control external synths and other hardware using the Launchkey 61 MK4.
The device is also NKS enabled; Native Kontrol Standard is a protocol that allows producers to intuitively use Native Instruments software with a range of compatible controllers from Novation, Akai Professional, Korg and more.
The Launchkey 61 MK4 White is available now, priced at $329.99 / £279.99.
Learn more at Novation.
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Elektron introduces new operating system for the Analog Four, adding new sequencing upgradesSwedish instrument maker Elektron has announced a new operating system for its four-voice analogue synthesizer, the Analog Four, bringing a series of exciting updates.
Officially version 1.55, the new OS works with every model of the Analog Four released to date, including the MKII, MKI and Analog Keys.

READ MORE: The best new music plugins this week, free and paid

One major update comes with the addition of a Euclidean Sequencer. The new mode uses two Euclidean generators to algorithmically create pulses spread throughout an existing sequence. By combining both generators, a single knob can drastically shift the patterns, changing the entire feel of the music.
Page Loop lets users both move quickly between different sequencer pages and save settings on an entire page. Once the sequence is dialled in perfectly, switch to the next page to see if further tweaks can make it even better.

Another feature, Control All, allows for immediate adjustments to every track that’s running a sequence. Simply hold track and twist whichever parameter knob you’re feeling. Every track will be modulated together, and thanks to Page Loop, returning to the original saved state is easy.
The Analog Four’s arp has been expanded as well to allow for different patterns. Rotate offset notes to find new melodic ideas while staying right within the key.
This update comes after Elektron was acquired by the investment firm Bonnier Capital back in April. In a previous interview with MusicTech, the company ensured this administrative shift would not affect its product development.
“The acquisition does not change our product roadmap,” the brand said. “If anything, it strengthens our ability to realise our plans quicker and more efficiently than we were previously able to. We remain committed to developing exciting new instruments – with some already in the works – and supporting and improving existing machines with fun OS updates and extra features – a core part of our DNA.”
OS 1.55 is currently available for download. For more information, head to Elektron.
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At $159, the SSL 1 is an audio interface that bedroom producers must consider$159, solidstatelogic.com
The affordable end of the audio interface market is a somewhat crowded place, and so it pays for a manufacturer to be able to grab customer attention – a long and revered history in audio production is a solid place to start! Doubtless, this was Solid State Logic’s thinking when launching its original SSL 2 and 2+ desktop audio interfaces, bringing a slice of the company’s circuit design excellence – not to mention its peerless reputation – within easy reach of any budding producer.

READ MORE: Solid State Logic SSL 2 and 2+ MKII: These interfaces have the edge in a crowded market

The range has expanded since then, with the SSL 12 and 18 offering higher input/output counts and, in the case of the latter, a rackmount form factor. But all of this expansion in features left a notable gap at the other end of the range – something compact, affordable and easy-to-use for those who want a mobile setup, or who just want to plug in a mic and guitar and start recording. It is perhaps a small gap but, nonetheless, SSL has now plugged it with the new SSL 1.
Image: Press
What are SSL 1’s main features?
SSL 1 has the same wedge-shaped, desktop form factor of the 2, 2+ and 12, albeit in a more compact case. The control panel is uncluttered, featuring just four dials, all of which use the same potentiometers and knob-caps as found on SSL’s high-end hardware, giving the unit a reassuring sense of quality.
Like the 2 and 2+, the SSL 1 provides two input channels, both featuring a gain pot and five-part LED level meter, but here the inputs aren’t fully-flexible mic/line/instrument affairs. Rather, the first input is mic-only, and the second caters for line and instrument signals. This isn’t going to be attractive if you want to record from a stereo line source such as a keyboard – for that you’ll need to look at the 2 and 2+ – but is perfectly adequate if you just want to hook up a guitar and a mic and start recording.
The pair of DC-coupled line outputs (which can also be be used to send CV signals to analogue synths) are rear-mounted, as are the pair of USB-C ports; one for USB-2 data connections, and the other to provide power when the host device can’t dole-out enough of the stuff. The only front panel connector is a 6.35 mm headphone jack that carries the same signal as the line outputs. Those outputs are controlled by a pleasingly-chunky master volume knob, whilst the headphone output has its own independent amp and volume control.
Image: Press
What makes SSL 1 stand out?
SSL 1’s mic input channel features the same preamp used across the entire range. This includes options for phantom power, a high-pass filter with a 75 Hz cutoff and 18 dB/octave slope, and the so-called Legacy 4K mode. Whilst not engaging an actual SSL 4000-series preamp (which would push the price up by a few hundred bucks), the 4K mode engages an analogue circuit that emulates the sound of this classic preamp by adding a high frequency boost and some carefully-tailored harmonic distortion. It works too — bringing out detail and airiness in vocals, and adding definition and clarity that can benefit many types of instrument.
Irrespective of the 4K mode, I’ve long been impressed by this preamp design. In my review of SSL 18, I describe it as “one of the best I’ve heard in this class of interface”, and observe that it “can even hold [its] own against higher-end interfaces”.
The second input is simpler than the first, with just a single button to switch between instrument and line input modes. Line mode is useful, but the majority of line signals used in a studio will be stereo and so not something SSL 1 can handle… or not, at least, without a DI box-based fudge. But I imagine most users will use channel 2 for DI-ing a guitar of some sort and, this being so, perhaps the channel’s input jack should have been located on the front panel.
Channel 2’s lack of a mic preamp means there’s no 4K mode available here. This is perfectly understandable given the unit’s design philosophy, but it’s also a shame because, when using the other interfaces in the range, I find that engaging 4K on a DI’d electric guitar gives a nice front-end kick that can benefit any subsequent amp modelling plugins. Again, a DI box provides a workaround, allowing an instrument to access Channel 1’s mic input.
Whilst this is the limit of the unit’s physical inputs and outputs, SSL 1 lays on three additional internal stereo loopback busses. These are particularly useful in a live performance or web streaming context, allowing you to easily mix other sources from your computer into the SSL 1’s output, or to bus audio internally to OBX Studio (or similar) for streaming.
Image: Press
No-fuss recording solution
Audio interfaces tend to offer one of two types of direct monitoring. Higher-end interfaces have a software mixer that can control busses and amps within the hardware, allowing you to create a mix of the direct incoming signal and the cue mix coming from your DAW. Then there’s a simpler system whereby a dial on the interface allows you to mix between the direct incoming signal and the DAW output signal.
SSL 1 makes things even simpler still, with nothing more than a button that enables a 50/50 mix of direct monitoring signal and DAW output. This isn’t ideal for achieving a perfect balance between input channels and DAW output, but it keeps costs down, and it isn’t exactly difficult to use your DAW’s master fader as a means to get a usable balance.
This simple monitoring reflects the overall straightforward approach of SSL 1. On Mac, iOS and Linux, the interface needs no additional software to run and is literally just plug’n’play, whilst on Windows all that’s needed is a quick driver installation and you’re good to go.
The limitations of the I/O configuration may restrict SSL 1’s wider appeal, but its no-nonsense approach means there’s nothing here to bog you down, nor to flummox those new to recording: no ambiguity about what connector to use, nothing unclear about what the hardware controls do, and no confusion over where and how a software mixer fits into the picture.
Most importantly, though, the quality of the mic preamp, the build and component quality, and the pristine, low-noise sound delivered by the interface’s 32-bit converters are beneficial whether you’re a newcomer or an experienced hand.
Image: Press
Key features

2-in / 2-out USB-2 audio interface
Input 1 is mic-only / input 2 is line/instrument level
2 balanced TRS line outputs (DC-coupled)
6.3 mm headphone socket
USB-C connector
Power from USB bus or dedicated 5v USB power input
Compatible with macOS, iOS, iPadOS, Linux and Windows
Balanced, DC-coupled line outputs
Includes SSL Production Pack software bundle

The post At $159, the SSL 1 is an audio interface that bedroom producers must consider appeared first on MusicTech.

Sound Workshop announces the Flexur T2, a new hardware synth inspired by the obscure 1930 Trautonium Boutique synth maker Sound Workshop has unveiled the Flexur T2, a new machine based on the obscure Trautonium synth dating back to 1930.
While first developed by the pioneering German engineer Friedrich Trautwein, Oskar Sala, another early synthesizer legend, expanded on Trautwein’s work to proliferate the early electronic instrument.
What makes the Trautonium stand out is its lack of traditional white and black keys. Instead, the sound is generated by two continuous touch bars. When these are pressed down, they connect with a metal plate to form the signal for the sound. Similar to a keyboard, the pitch is higher or lower depending on where the player is touching the bar, but with no key separation, pitch and other elements can be seamlessly modulated.

READ MORE: Marshall’s new Stockwell III packs 40 hours of battery life – with repairable parts designed to keep it going for longer

Flexur applies this same functionality with a knob per function interface. Oscillator, envelope, filter, and effects are supported by common parameters such as tone, texture, pluck, push, attack, decay, release, and resonance. Everything is displayed on the hardware. No digital interface required.
Sound Workshop describes the Flexur T2 as “a Cello crossed with a MiniMoog in the spice mines of Arrakis”.
The Flexur T2 is still in the development phase. The company has built four units of the prototype seen in this demo and has let 100 users test the product. Pre-orders are open, and the money spent will go towards one-time back-end purchases of tools and consulting fees to ensure the viability of the product.
The fundraising goal is $75,000. As of the time of writing, Sound Workshop has raised $58,026, with only 18 preorders of the Flexur 2 left. The current price is $1,399. There is a $200 discount for early purchasers. Other benefits include a 2-year, white-glove warranty and free access to Sound Workshop’s Patreon for life.
For more information, head to Sound Workshop.
The post Sound Workshop announces the Flexur T2, a new hardware synth inspired by the obscure 1930 Trautonium  appeared first on MusicTech.

John Summit says Travis Scott “forced his way” on stage and cut short his Monaco set after arriving lateDJ John Summit has detailed how his recent set in Monaco was cut short after a late Travis Scott allegedly “forced his way” on stage and took over mid-performance.
The incident took place on Sunday night (7 June) at Lily’s Club Monte Carlo in Monaco, where both artists were scheduled to perform as part of a shared billing.

READ MORE: Marshall’s new Stockwell III packs 40 hours of battery life – with repairable parts designed to keep it going for longer

Footage circulating online shows Summit mid-set when Scott enters the stage area, climbs over DJ equipment, and begins performing to the crowd while music continues to play.
Following the incident, Summit took to social media to explain that his set had ended prematurely due to circumstances outside of his control.
“Last night was out of my control. My show got shut down due to another artist showing up late and forcing his way onto the stage,” he wrote on X. “Love you all that were there to dance and have a good time.”

monaco that was insane last night
last night was out of my control. my show got shut down due to another artist showing up late and forcing his way onto the stage.
love u all that were there to dance and have a good time
— John Summit (@johnsummit) June 8, 2026

He also shared a clip of himself playing Go Back earlier in the set, captioned: “I wanna go back (onstage to finish my performance)”.
In additional footage from the night, audience members can be seen pushing toward the front of the stage where Summit was performing. In one clip, his production director John Fink can be heard intervening, telling an audience member: “don’t fucking touch him like that.”

An utterly bizarre situation last night in Monaco — after showing up more than two hours late for his scheduled set time, Travis Scott forced John Summit off stage so he could perform, cutting Summit’s set short in the process.
/ howtfwefeelin | IG pic.twitter.com/Qeq2XELvDs
— Festive Owl (@TheFestiveOwl) June 8, 2026

At the time of writing, neither Travis Scott nor representatives for the event have publicly commented on the incident.
In related news, Summit is set to headline Lollapalooza 2026 alongside Lorde, Charli XCX, The Smashing Pumpkins, Olivia Dean, Jennie, Tate McRae and The xx. The DJ is also launching his massive North American CTRL ESCAPE Arena Tour, which kicks off this October.
The post John Summit says Travis Scott “forced his way” on stage and cut short his Monaco set after arriving late appeared first on MusicTech.

Marshall’s new Stockwell III packs 40 hours of battery life – with repairable parts designed to keep it going for longerMarshall has unveiled the Stockwell III, the next generation of its portable Bluetooth speaker range and the first major update to the Stockwell lineup since 2019.
Designed for listeners “who want powerful sound without sacrificing portability”, Stockwell III brings a host of upgrades aimed at both performance and longevity.
Chief among them is Marshall’s True Stereophonic 360° sound technology, which fills a space with immersive audio from every angle, eliminating traditional “listening sweet spots” associated with typical portable speakers.
The new speaker also comes with a ‘Dynamic Loudness’ feature, which automatically balances bass, mids and treble as volume changes, helping preserve detail and clarity whether you’re listening quietly at home or cranking it up outdoors.

READ MORE: The best new music plugins this week, free and paid

Beyond its acoustic improvements, Marshall is putting a greater emphasis on lifespan as well. The Stockwell III delivers more than 40 hours of wireless playtime on a single charge – double the battery life of its predecessor – while adopting a more repairable design intended to keep the speaker in service for longer.
To that end, key components including the battery, carry strap, silicone sleeve and front and rear grilles can be replaced individually, reducing the need for a full product replacement.
Credit: Marshall
Aesthetically, the speaker remains unmistakably Marshall. The Stockwell III features a guitar-inspired PU leather carry strap, amp-inspired tactile control knobs, solid metal grilles and the brand’s signature logo.
The brass control panel has also been reworked with more intuitive controls, including quick-access presets via the M-button and easier track navigation through a dedicated media jog control.
Built for life beyond the living room, the Stockwell III is IP55-rated for dust and water resistance. It also doubles as a power bank via USB-C, allowing users to charge their smartphones and other devices while on the go.
Priced at £199.99, the Marshall Stockwell III will be available from 18 August in black and brass or cream finishes.
Learn more at Marshall.
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