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.”

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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.
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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.
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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.
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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.
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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
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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.
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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.
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Channel Robot Gainer Plugin Is FREE For A Limited Time
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Judge in AI lawsuit rules that humans are essential to copyrightUS District Court Judge Beryl A. Howell has ruled that AI-generated art can’t be copyrighted. In a decision that will have implications for future court cases on copyrights for music. Continue reading
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How does fraudulent streaming affect real artists?Fraudulent streaming is a worldwide problem that takes from hard-working artists around the globe. Here’s what you need to know… from Horus Music Over the last few years, there has. Continue reading
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“I’m an engineer first, producer second, performer third”: Deadmau5 follows up on his comments about pre-recorded DJ setsProducer Deadmau5 has followed up on comments he made regarding pre-recorded DJ sets during a live stream.
Deadmau5, whose real name is Joel Zimmerman, has reiterated that he’s not a DJ himself, and has stated that “everyone does shit their own way”.

READ MORE: Deadmau5 on AI music production: “It’s pretty scary in the sense of how stupid music already is”

Discussion online arose from a 2021 livestream from the artist which has recently resurfaced on YouTube. Responding to a comment that asked if he had “ever faked a DJ set”, he confirmed that he had played pre-recorded ones before due to time restraints.
“[At] most major festivals you have to play a pre-recorded set. Like EDC [Electric Daisy Carnival in Las Vegas], I would be surprised if somebody actually played a set that wasn’t pre-recorded to be honest,” he said.
“Because there’s such a big deal to the fucking artist in the production schedule and the timeline and all that stuff that they wouldn’t wanna fuck up.”
A commenter then declared that those who play pre-recorded sets are not real DJs, “Okay. Says who? The fucking DJ police?” Deadmau5 scoffed in reply.
A clip from the livestream was shared to the MusicTech Instagram page, where Deadmau5 responded to backlash: “The fuck do I care. I’m an engineer first, producer second, performer third. Pre-recorded, on the fly, DJs, live PAs… who cares, everyone does shit their own way. So maybe just try to have a good time?”

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He also shared his own post to his page on the platform declaring he’s not a DJ himself, “18 years later I am still being asked to prove I am a DJ,”  he wrote. “Why? I am not a DJ. I do zero jockeying with discs. I don’t know how to use a CDJ. This is not news.”

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A post shared by deadmau5 (@deadmau5)

DJ Diesel, who many may know as Shaquille O’Neal, also commented under his response joking, “That’s exactly what a DJ would say.”
For the latest information on Deadmau5’s releases and live shows, visit his website.
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Campaign launched to bring more women into the soundsystem sceneNotting Hill Carnival pioneer Linett Kamala has launched a new campaign to encourage more female DJs to enter the soundsystem scene.

READ MORE: Guitar.com rebrands with a focus on music industry, including a careers section, and a new generation of guitar lovers

Spearheaded in partnership with Guinness, the mentorship programme, titled Original Sounds Collective, has been created specifically for women in the soundsystem scene, will include bespoke training, experiences and access to new equipment.
Besides Kamala – who at 14 became one of the first female DJs at NHC, the mentor lineup will also feature carnival mainstays Dubplate Pearl and Ella Davidson-Smith. Mentees for the first round have been selected, but the programme will open soon for prospective applicants.
“Women have always been around and part of soundsystem culture. It’s just not always been as visible,” Kamala tells Guardian. “So me stepping into the fore as a young woman back then was bringing more visibility to the females who were around, but not as prominent and taking on some of those roles like DJ or MC.”
Explaining how the initiative provides much-needed support for women in the largely male-dominated soundsystem space, Kamala says “People feel like they’re perhaps in isolation. They’re feeling like they’re the only ones doing this or feeling this way, and really want to learn more about it. The first step is about connecting and having that courage.”
“Everyone brings different skills, but it’s a collective and everyone’s going to have different facets to different qualities and personalities that they’ll bring to it as well. So that’s what’s quite exciting, to hopefully find that and connect with other people and other women out there.”

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A post shared by Linett Kamala ⓥ (@linett_kamala)

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BODHI: Zen Chimes from The Very Loud Indeed Co. The latest tuned percussion library from The Very Loud Indeed Co. offers a warm and mellow sound which they say is ideal for creating soothing and reflective moods.

“They’re making bulls**t records with loops. Everything’s sampled”: Tony Visconti slams modern producersTony Visconti has made it clear he’s not a fan of modern producers because they are – in his words – “making bullshit records with loops”.

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

Speaking recently to MOJO, the three time Grammy-winning producer was asked if there were any modern producers he admired, to which he replied: “No. Absolutely not.”
“They’re making bullshit records with loops. Everything’s sampled,” Visconti explained. “I think old-school production with a band is the only way to make great records. Sure, I can make a record on my laptop. No problem. Any 12-year-old with a laptop and GarageBand or Ableton can.”
Visconti, who’s best known for his lengthy involvement in many of David Bowie’s singles and albums – particularly Blackstar – added that there are only two musicians he looks up to due to their ‘rule-breaking’ approach to music-making.
“My generation was very impressed by Phil Spector. We all tried to make records like that when we had a chance,” he said. “But I only have two idols, George Martin and Beethoven.”
“Beethoven because of what he did in his day – everyone was imitating Mozart, the orchestra was 40 pieces, and this son of a gun gets 150 people on-stage for his Ninth symphony. I like that kind of thinking. He was a rule breaker, and so was George Martin. Those two have inspired me throughout my career. Breaking the rules is the only way you’re gonna get somewhere new.”
“A lot of producers put their stinky sound all over a record and the artist doesn’t want to work with them again,” Visconti said, adding that his dream is to “be a better producer”.
“I want to outdo the last time I was in the studio. I still want to get better and better at what I do.” he said.
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