IDLES at the Paramount Theatre, SeattleAn excited sense of supernatural electricity quivered through Seattle’s historic Paramount Theatre; its energy sparked across the elbow-to-elbow sold-out crowd. The powerful sensation grew stronger in intensity as seconds sped by, enveloping the audience in an anticipatory state as they sensed the brutal musical beauty being held at bay backstage. Thankfully, IDLES, the five-piece Bristol-based band known for creating crushing contemplative chaos alongside dulcet-like seductive tones, were attuned to this surreal sensation. In the space of a breath, Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan, and Joe Talbot appeared and crossed the stage to take their places. Shortly after the delicately dark piano intro of “IDEA 101,” the opening track from IDLES’ 2024 release, TANGK bled into the air. Frontman Joe Talbot paced a few more times, then grabbed the mic, his resilient bon-sang voice cathartically grounding the crowd- albeit only momentarily.

As force majeures of massive sound matched with poignant, provocative lyrics, IDLES immediately moved into the harsh and heavy “Colossus” from 2018’s Joy as an Act of Resistance., which included Talbot swirling his mic overhead while Kiernan jumped into the throng of fans, body surfing while playing guitar. Their actions served as catalysts and ignited mosh pits that continued to ebb and flow throughout the band’s two-hour-plus show. 

IDLES plunged further into their carefully crafted set with a pantheon of songs highlighting their skills at succinctly exploring complex subjects with subversive slants. The resolutely uplifting thrashers “Gift Horse” (TANGK) and “Mr. Motivator” (2020’s Ultra Mono) suggested the magnificence found in embracing “the self” versus the powers that be, while the droning, dissonant painkillers “1049 Gotho” (2017’s Brutalism) and “The Wheel” (2021’s CRAWLER) tackled the dark, crippling weight felt amidst the throes of depression and sinister cycles of addiction.

Mid-set, the five-piece acerbic songwriters embraced their well-known anti-establishment stances by calling out colonialism’s role in modern-day politics with “f*ck the king” chants and calls for “ceasefire in Gaza” before they blasted into the ear-splintering “War” (2020’s Ultra Mono). IDLES brought the throngs of fans further into their fury, with Bowen and Keirnan bolting over barricades with guitars in arms as they surged into an emotionally fraught performance of “Benzocaine” (Brutalism). Afterward, Talbot gently serenaded the pair to return to the stage with a rendition of Foo Fighters’ “My Hero.”

Ready to venture further into more varied soundscapes, IDLES leaned into several tracks from TANGK - the eerie gray grit of “Gratitude” and the trippy experimental sawtooth buzzes in “POP POP POP – both with tactful yet abstract lyrics that examine how joy often resides in snippets of everyday life instead of momentous grandstanding successes.

IDLES returned to their rebellious roots with material from Joy as an Act of Resistance: the punk chords of positivity in “Television” and the aggressive harmonics in “Samaritans.” The latter included a shout-out to a father who hoisted his daughter on his shoulders for the duration of the performance. The five-piece continued with another round of rallying against conformity with the visceral “Never Fight a Man with a Perm” before Talbot and crew shifted gears back toward the present day by asking concertgoers, “Shall we dance?” After hearing a resounding “Yes!,” IDLES took their cue and broke into “Dancer” (TANGK), the hauntingly evocative single tackling the tricky concept of navigating love and loss. As the song’s hypnotic chords ended and drifted into the atmosphere, Bowen dropped his guitar and once again jumped into the audience. They immediately lifted him on their shoulders as he and his bandmates broke into “Danny Nedelko,” complete with the crowd singing along with the chorus.  As ambassadors of alt-ideology, IDLES ultimately ended their marathon concert with the biting “Rottweiler.” The last selections, both from Joy as an Act of Resistance, underscored why IDLES are pertinent today: they wholeheartedly write music that analyzes ruthless realism while striving to attain perfect altruism - a notion that at its core remains part of human nature.

SETLIST  

IDEA 01

Colossus

Gift Horse

Mr. Motivator

Mother

Car Crash

I'm Scum

1049 Gotho

Roy

The Wheel

Jungle

War

Wizz

Benzocaine

Gratitude

Divide and Conquer

POP POP POP

Television

Samaritans

Crawl!

The Beachland Ballroom

Never Fight a Man with a Perm

Dancer

Danny Nedelko

Rottweiler

Sandwizz Promises to Reinvent the BreadboardThe solderless breadboard is perhaps the electronic hobbyist’s most commonly used tool, but let’s be honest, it isn’t exactly anyone’s favorite piece of gear. Even if you’ve got an infinite supply of jumpers in just the right size, any mildly complex circuit quickly becomes a nightmare to plan out and assemble. To say nothing of the annoyance of trying to track down an intermittent glitch, only to find you’ve got a loose wire someplace…
The Sandwizz Breadboard hopes to address those problems, and more, by turning the classic breadboard into a high-tech electronics prototyping platform. The Sandwizz not only includes an integrated power supply capable of providing between 1.8 and 5 volts DC, but also features an array of integrated digital and analog components. What’s more, the programmable connection system lets you virtually “wire” the internal and external components instead of wresting with jumper wires.
To configure the Sandwizz, you just need to connect to the device’s serial interface with your favorite terminal emulator and work your way through its text-based menus. You can also export a netlist file from your KiCad schematic and upload it into the board to make all the necessary connections automatically. This lets you make the leap from concept to physical prototype in literally seconds.

Jumperless in all its RGB LED glory.
If all this sounds a bit familiar, it’s probably because the Sandwizz clearly has a lot in common with the Jumperless. Created by [Kevin Santo Cappuccio], Jumperless uses an array of analog crosspoint switches to connect devices on the breadboard without the need for any jumpers (hence the name), and also uses a serial interface to configure the netlist. Jumperless uses RGB LEDs to indicate connections directly on the breadboard, and features some integrated analog and digital diagnostic tools, as well as the ability to take voltage and current measurements.
On paper it does sound like the Sandwizz offers some advantages over the Jumperless. The collection of onboard circuit components sounds very interesting, but the documentation seems pretty vague on what’s included. The expandability that lets you connect multiple Sandwizz boards together to create a larger workspace also looks nice, but depending on how much these things cost, having more than one might be a tall order for the average hobbyist.
But the biggest difference between the two is that the Jumperless is open source hardware and is available for purchase right now, while the Sandwizz is still working its way towards a Kickstarter currently scheduled for early June. The limited documentation and AI-voiced video below the break don’t exactly instill us with confidence, but to be fair, we can’t pass judgement on it until we can see how it works in the real-world. In the meantime, we’re interested to see where this new competition in the world of smart breadboards will take us.

Thanks to [paulvdh] for the tip.

Psycho Circuitry launches new free PCEQ5 five band analog EQ plus paid version
Psycho Circuitry launched the free PCEQ5 five-band analogue-inspired EQ, plus the paid version of the plugin, the PCEQ5+.  The PCEQ5 and PCEQ5+ are available for Windows and macOS, with the latter being available at an introductory deal of $8 (down from $49) until May 19, 2024. Mac users will be pleased as Psycho Circuitry has [...]
View post: Psycho Circuitry launches new free PCEQ5 five band analog EQ plus paid version

 “When I first got introduced to tools like ChatGPT, it unlocked all my creativity”: King Willonius on using AI for his comedic track, BBL DrizzyIf you’ve found yourself caught up in the feud between Drake and Kendrick Lamar, you may have heard Metro Boomin’s BBL Drizzy, but comedian King Willonius is the original creator of the 1970s soul-esque sample heard throughout the track.
Created using AI and shared back in April, King Willonius made the song after Rick Ross accused Drake of getting a Brazilian butt lift (BBL). This has not been confirmed by Drake, and as a music publication we don’t tend to get into matters of butt lifts, but the use of AI in this viral track is rather interesting.

READ MORE: AI lets country star Randy Travis sing again in first song released post-stroke

In an interview with Vulture, King Willonius says, “When I first got introduced to tools like ChatGPT, it unlocked all my creativity. Honestly, it felt like I had an advantage over a lot of my peers, just in the ability to create at warp speed.”
He goes on to add that the process of creating a song with AI involves “a lot of trial and error”: “Just going back and forth with the different prompts. I have a really great ear, so it’s just listening to the music once it’s done and being like, ‘I don’t like this,’ then just keep reiterating the track until it’s something that I feel that people would enjoy.
“Then just keep tweaking it until you find what actually works. That particular track, I’ve done it in multiple different styles, country, Afrobeats, yacht rock, and it works in each one,” he states.

On Metro Boomin using the track as a sample, he says, “Any time somebody posts the song, there’ll be people in the comments like, ‘Hey, that’s King Willonius who made that and wrote it.’ That’s probably the biggest misconception with AI. People think that you can just throw a prompt in there and it’ll make a track like that, but like, AI doesn’t know about ‘thicker than a Snicker.’ You’re not going to get lines like that from AI.”
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Kendrick vs. Drake is a rare ‘mainstream’ moment… and streaming is on the sidelinesDive into the ripples that rap battles can create in mainstream media. Does it help the artist's music career? Is it just for clout.....
The post Kendrick vs. Drake is a rare ‘mainstream’ moment… and streaming is on the sidelines appeared first on Hypebot.

Read Steve Albini’s incredible letter to Nirvana waiving ‘In Utero’ royaltiesWhile Steve Albini shepherded thousands of albums, he preferred being called an engineer rather than a producer. That self-imposed distinction offers a glimpse at the depth of Alnini's character, but his letter to Nirvana took it to another level.....
The post Read Steve Albini’s incredible letter to Nirvana waiving ‘In Utero’ royalties appeared first on Hypebot.

Live music marketplace GigPig raises $1.6MLive music marketplace GigPig has added $1.6 million in funding to provide more paid performance opportunities for musicians and a simpler workflow for small venues.,,,,
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Steve Albini got along “just fine for 30-plus years without being contractually bound to anybody”Last week, the music world was shaken by the news of Steve Albini’s passing. The legendary producer, famed for his work with Nirvana, Pixies, and many more, died suddenly aged 61.
Since his passing, the industry has been looking back on the many wise words of Albini during his career, and in a newly reshared interview with NME (originally from 2018), the producer had some interesting takes on record labels and contracts, which were perhaps a little ahead of the curve.

READ MORE: Steve Albini’s 1992 letter to Nirvana: “Paying a royalty to a producer is ethically indefensible…there’s no fucking way I would take that money.”

More artists have been shifting away from traditional recording contracts in recent years, in favour of licensing deals or other ways of remaining somewhat independent.
In Albini’s former interview, he said, “I don’t think we need to concern ourselves too much with the record business, just because the record business is such a trivial aspect in most bands’ careers now. Most bands make their living performing live now, or occasionally lining their music up with other projects like doing film stuff, or sync stuff, or licensing their music for advertising.”
He went on to add, “I’ve long argued against the use of contracts in music – I think they’re counterproductive. They tend to create an adversarial relationship, and they put bands on the defensive. I think they favour the party that has more money and resources, and so they’re no protection for a band. I don’t think contracts are useful.”

Further expanding on his opinions on contractual obligations within music, Albini explained, “I’ve gotten along just fine for 30-plus years without being contractually bound to anybody, for anything.
“I feel like that’s the most flexible, most cooperative way to do things. Let’s say you have a relationship with a record label, and everybody gets along great at the start. If you have a contract that binds you to them, if they start treating you like an employee, or they start treating you poorly, you are still bound to them even though your relationship has changed.”
He continued, “If you don’t have a contract with them, then they’re obliged to keep you happy, or else you leave. If you get along well, and things go well, and everybody’s happy, then it will naturally continue. I feel like that’s the most stable and most dependable kind of relationship – the one that’s based on past success.”
Interestingly, Albini was known to refuse royalties on his recordings, and opted instead for a flat fee when working on an album. Before his passing, he was preparing to tour Shellac’s first album in a decade, To All Trains. He fronted the rock band alongside Bob Weston and Todd Trainer.
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Polyend introduce Tracker+ The latest Tracker boasts a wealth of new features including stereo sampling and playback capabilities, USB audio, eight additional MIDI and sequencer tracks, a collection of new onboard instruments and more.

Antelope Audio’s Zen Quadro is a $599 14-in/10-out audio interface with “unparalleled” sound qualityCalifornia’s Antelope Audio – known for its line of premium studio gear – has released the Zen Quadro, a budget-friendly high-quality audio interface.
Suitable for use in both small and home studios, the Zen Quadro packs in the AD/DA chips from Antelope Audio’s flagship Galaxy range, along with “console-grade” discrete preamps with 75dB gain. The brand also says it’s ideal for use by live and touring artists, streamers, podcasters and others.

READ MORE: “The best-selling tools from Native Instruments, iZotope, and Brainworx”: Native Instruments announces tiered NI 360 subscription platform

The Zen Quadro features a total of 14 in, 10 out channels in a small portable bus-powered unit. Its analogue inputs and outputs are DC-coupled, enabling control of synths via CV (Control Voltage). It brings a new “revolutionary” feature with a secondary independent USB-OTG port, providing playback and recording on two systems simultaneously, cross-routing, and reverse charging if a mobile device is connected.
The interface also allows easy access to direct routing and mixer settings via a colour display, preset recall, and full standalone functionality. There’s 37 analogue-modelled effects on board – including iconic compressors, mic pres, EQs, guitar amps and cabs – with over 50 more available for additional purchase. Up to 48 effects on six separate channels can be loaded simultaneously.
“The Zen Quadro caters to aspiring producers and engineers in home setups or compact studios, providing professional-grade audio quality and versatile features without breaking the bank,” says Antelope Audio.
“Dive deep into sonic exploration with the Zen Quadro’s DC-coupled I/O, real-time monitoring and silent line inputs, allowing budding synth enthusiasts to unleash the full potential of their modular setups, whether in the studio or on stage.”
Take a closer look below:

The Zen Quadro is priced at $599, and is available now. Find out more over at Antelope Audio.
The post Antelope Audio’s Zen Quadro is a $599 14-in/10-out audio interface with “unparalleled” sound quality appeared first on MusicTech.

VSL User Survey 2024 VSL are inviting music creators to participate in an online survey in order to gather information and improve their product range and services.

Best Music Distribution Companies in 2024 – Full Comparison ChartThis is the most comprehensive digital music distribution review comparison between Amuse, AWAL, CD Baby, DistroKid, Ditto Music, LANDR, TuneCore, Songtradr, and more.

Bitcoin trades sideways while TON, RNDR, PEPE and AR flash bullish signsBitcoin price looks stuck in the near term, but TON, RNDR, PEPE and AR could surprise traders by making a strong upside move.

Autochrome For The 2020sFor all intents and purposes, photography here in 2024 is digital. Of course chemical photography still exists, and there are a bunch of us who love it for what it is, but even as we hang up our latest strip of negatives to dry we have to admit that it’s no longer mainstream. Among those enthusiasts who work with conventional black-and-white or dye-coupler colour film are a special breed whose chemistry takes them into more obscure pathways.
Wet-collodion plates for example, or in the case of [Jon Hilty], the Lumière autochrome process. This is a colour photography process from the early years of the twentieth century, employing a layer of red, green, and blue grains above a photosensitive emulsion. Its preparation is notoriously difficult, and he’s lightened the load somewhat with the clever use of CNC machinery to automate some of it.
Pressing the plates via CNC
His web site has the full details of how he prepares and exposes the plates, so perhaps it’s best here to recap how it works. Red, green, and blue dyed potato starch grains are laid uniformly on a glass plate, then dried and pressed to form a random array of tiny RGB filters. The photographic emulsion is laid on top of that, and once it is ready the exposure is made from the glass side do the light passes through the filters.
If the emulsion is then developed using a reversal process as for example a slide would be, the result is a black and white image bearing colour information in that random array, which when viewed has red, green, and blue light from those starch filters passing through it. To the viewer’s eye, this then appears as a colour image.
We can’t help being fascinated by the autochrome process, and while we know we’ll never do it ourselves it’s great to see someone else working with it and producing 21st century plates that look a hundred years old.
While this may be the first time we’ve featured such a deep dive into autochrome, it’s certainly not the first time we’ve looked at alternative photographic chemistries.

IRCB S73-7 Satellite Found After Going Untracked For 25 YearsWhen the United States launched the KH-9 Hexagon spy satellite into orbit atop a Titan IIID rocket in 1974, it brought a calibration target along for the ride: the Infra-Red Calibration Balloon (IRCB) S73-7. This 66 cm (26 inch) diameter inflatable satellite was ejected by the KH-9, but failed to inflate into its intended configuration and became yet another piece of space junk. Initially it was being tracked in the 1970s, but vanished until briefly reappearing in the 1990s. Now it’s popped up again, twenty-five years later.
As noted by [Jonathan McDowell] who tripped over S73-7 in recent debris tracking data, it’s quite possible that it had been tracked before, but hidden in the noise as it is not an easy target to track. Since it’s not a big metallic object with a large radar cross-section, it’s among the more difficult signals to reliably pick out of the noise. As can be seen in [Jonathan]’s debris tracking table, this is hardly a unique situation, with many lost (XO) entries. This always raises the exciting question of whether a piece of debris has had its orbit decayed to where it burned up, ended up colliding with other debris/working satellite or simply has gone dark.
For now we know where S73-7 is, and as long as its orbit remains stable we can predict where it’ll be, but it highlights the difficulty of keeping track of the around 20,000 objects in Earth orbit, with disastrous consequences if we get it wrong.