The Zombies founder Rod Argent recovering from a stroke, Announces retirement from touringFrom The Zombies’ Management:

We are saddened to report that Rod Argent, founder, keyboardist & primary songwriter of The Zombies, has suffered a stroke. Rod had recently returned home from a triumphant Zombies tour of the UK, and spent a weekend in London with his beloved wife Cathy, celebrating his 79th birthday and their 52nd wedding anniversary, before the stroke occurred. He was hospitalized overnight, and released the next day. Doctors have advised that Rod will need several months of rest and recuperation.

Rod has asked us to convey that he has made the very difficult decision to immediately retire from touring in order to protect his health. He was already preparing to wind down his live performance schedule after health scares on recent tours (a Fall 2024 USA run was in the works that was intended to be his final overseas tour, and a farewell to the country that launched The Zombies’ career in 1964). However, the stroke was an unmistakable warning sign that the risks are too great. Rod still firmly intends to continue his other creative joy of writing and recording with The Zombies, and has already been back at his piano for some much-needed “Bach therapy”.

The Zombies - Photography by ALEX LAKE insta @twoshortdays WWW.TWOSHORTDAYS.COM

We have managed The Zombies together for the past 11 years, and Chris was their US booking agent for the 11 years prior. We have witnessed hundreds of times how Rod transforms back into an 18-year-old during the 100-minutes he’s on stage each night with The Zombies. The energy he receives from his musical symbiosis with the current lineup - original singer Colin Blunstone, drummer (and cousin) Steve Rodford, guitarist Tom Toomey and bassist Søren Koch - is doubled by the energy that flows back from the audiences, with fans of all ages joyfully singing along to their classics and new songs. Each year, we’d secretly marvel at how this band could possibly be playing at an even higher level than the previous year, instead of diminishing with age. That being said, the other aspects of touring can be grueling, and can take their toll on 18-year-olds, never mind a musician approaching 80. As heart-breaking as this is for us, the band, our crew and our team, we are a family and fully support Rod in this decision.

Rod had retired from touring once before, in 1975 after spending his late teens and 20’s on the road with both The Zombies and his eponymous band Argent, in order to focus on his family, along with songwriting and production. This didn’t change until 1999, when Colin coaxed him to fill in on 6 of his solo gigs, after a keyboard player had dropped out at the last minute. Rod reluctantly told him, “I’ll do it...but 6 shows, that’s it.” On tour last month, Rod remarked to us how incredible and unexpected it was that those 6 shows turned into 25 years of touring and recording with the new incarnation of The Zombies, almost a third of his life.

And it’s been a helluva run.

The Rock & Roll Hall of Fame induction at Brooklyn’s Barclays Center. Festivals like Glastonbury, StageCoach and KAABOO. Unforgettable shows like Central Park Summerstage, Santa Monica Pier, Stern Grove San Francisco, London Palladium, and Stubb’s at SXSW Austin. TV appearances with Jimmy Fallon and Jools Holland. Sharing stages with Tom Petty and Brian Wilson. Too many moments to count. The UK tour The Zombies just completed in June added two more highlights - a sold-out show for 2000 fans at London’s Barbican Centre with special guests like Paul Weller, and closing to a multi-generational crowd rapturously cheering them despite endless rain and mud at the Eden Festival in Scotland.

As Rod’s experience shows, we don’t know what the future holds.

What we have to tell fans today is that all upcoming performances by The Zombies will be canceled. However, our 2nd annual “Begin Here Festival” in St Albans UK (November 8-10, 2024) will continue. This fan weekend celebrating The Zombies and the historical and vibrant city where they formed is made even more important by this news. Our hope is to replace the scheduled Zombies performance with a special show honoring Rod, and ask fans to hold on to their tickets until we’ve had time to regroup and announce new plans. Colin Blunstone’s upcoming November performances of his seminal 1971 solo album One Year, at Begin Here Festival and other UK cities, will also continue as planned. Most importantly, know how much you are loved and appreciated by the band, and how grateful we are for your continued support. In the meantime, we will all get to enjoy The True Story of the Fake Zombies, an 8-episode true-crime Podcast detailing the 1969 story of an imposter version of the band on iHeart Radio starting today, and the official Zombies documentary, Hung Up On A Dream, directed by Robert Schwartzman, slated for theatrical and streaming release later this year.

Our last message is that if a classic artist that has made music you love is performing nearby, don’t miss the opportunity to see them. You can sit on the couch and binge Netflix another day. The communal experience of a live performance by a veteran artist is a singular and joyous moment. These artists are treasures who have stood the test of time and are giving their all, but they are fragile human beings like all of us. Don’t miss out.

Chris Tuthill & Cindy da Silva

The Rocks Management 

The post The Zombies founder Rod Argent recovering from a stroke, Announces retirement from touring first appeared on Music Connection Magazine.

Newly Completed Overly-Complex Clock Synchronizes Multiple MechanismsSome time ago [Kelton] was working on a clock inspired by Rube Goldberg contraptions. It uses only a single motor, and he’s proud to now show off the finished product (video, embedded below.)
The clock shows hours on the left, and minutes on the right. Every sixty minutes the clock drops a marble. That marble kicks off a series of visually-satisfying operations that culminate in advancing the hour. Then everything resets, and it continues for as long as it has power.
The hour oscillates in a very satisfying manner as it locks in.
At the top of each hour, the minute hand tips a marble with a gravity cam. That marble runs down a track gaining enough momentum to flip a kicker, and a short series of falling dominoes builds enough force to tip and trigger the spring-loaded ratchet that locks in a new hour. You can skip directly to 2:09 if you just want to listen to [Kelton] explain the whole operation from beginning to end.
We think it’s very interesting to note that this clock’s complexity is, if anything, understated. Each of the mechanisms involved must individually reset by their own separate mechanisms, each of which are as intriguing as their showier counterparts, and we’re sure they were every bit as difficult to get just right. And of course, it’s all driven by a single motor.
You may recall the promising start this clock project was off to and we’re delighted to see it come to completion, especially considering its complexity. Not every project sees completion, and fewer still get a version two, but that’s okay. What really floats our boat is seeing the process and details as well as hearing about what worked and what didn’t. We’re glad this clock reached the finish line, but even if something doesn’t work out, there’s always something to learn.

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2024 Business Card Challenge: The Gift of MusicHas anyone ever told you that you just can’t carry a tune? If you were to be the lucky recipient of one of [Ayu]’s synthesizer business cards, well, then it really couldn’t be helped.
This tiny, go-anywhere instrument has quite a lot going for it. It’s easy for anyone to pick up and play something, but versatile enough that a more experienced musician can add complexity. While we do tend to see twelve keys in a small form-factor like this, the Canta-Cart uses them a bit differently. Only ten are tied to notes, and the other two are for transposition.
[Ayu] was able to keep the BOM cost way down by using the PY32, which is an ARM Cortex-M microcontroller made by Puya that costs as little as 10¢ each. In fact, the whole BOM clocks in around 60¢ total even with the audio DAC and amplifier ICs, which really makes these ideal to actually give away to people. Check it out in action after the break, or try it in the browser!

New THR DeBleed Noise Gate Plugin is 44% Off for a Limited Time
THR recently released the DeBleed noise gate, and the plugin is currently available at just $50, down from $90, which is a 44% saving. The plugin is a 64-bit exclusive release available for Windows and macOS. THR states that DeBleed is not a traditional noise gate but “a noise gate designed to obliterate cymbal bleed.” [...]
View post: New THR DeBleed Noise Gate Plugin is 44% Off for a Limited Time

Make your own DIY finger drumming routine with Midi Fighter 64 and AbletonWe’ve teamed up DJTT friend and creative powerhouse Rishabh Rajan to do a few videos featuring our own Midi Fighters – starting off with the Midi Fighter 64. One of the most common requests we’ve heard is “how does XX artist make their performance videos on a 64?” Making a performance routine (and potentially a […]
The post Make your own DIY finger drumming routine with Midi Fighter 64 and Ableton appeared first on DJ TechTools.

Why Is Music Getting Worse? Rick Beato has two answersIs music getting worse? Rick Beaton, whose commentaries and interviews have 4.3 million subscribers on YouTube, thinks so, and he thinks he knows why.
The post Why Is Music Getting Worse? Rick Beato has two answers appeared first on Hypebot.

Moog unveil Labyrinth semi-modular synth The latest addition to Moog’s semi-modular line-up has just been announced, and promises to represent somewhat of a departure from their usual sound.

Courtney Harrell shares strategies for Navigating the Music IndustrySinger and songwriter Courtney Harrell unveils her personal strategies for navigating the music industry. Her expert advice provides aspiring musicians with essential guidance for achieving success in a competitive environment.. Continue reading
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Virgin Music Group partners with Japan’s Frontier Works for anime music projectsThe global anime market has seen explosive growth in recent years.
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Mastering Music PR: A Guide for Emerging MusiciansThis beginner's guide offers emerging music essential strategies for successful music PR. By following these practical PR tips, musicians can enhance their reach, build a strong brand, and accelerate their careers.
The post Mastering Music PR: A Guide for Emerging Musicians appeared first on Hypebot.

“It’s very easy to lose yourself in all the possibilities of a large show and end up creating something more for the eyes than for the ears” Richie Hawtin warns against the spectacle of modern DJingGone are the days when DJing was mostly an auditory experience; now, it’s a full-blown assault on the senses, with lasers, pyrotechnics, and LED screens vying for attention alongside the music.
“It’s very easy to lose yourself in all the possibilities of a large show and end up creating something more for the eyes than for the ears,” warns techno pioneer Richie Hawtin, taking aim at the sensory overload that’s become the norm in modern DJ performances.

READ MORE: Resident Advisor and SoundCloud team up to “improve music and event discovery”

A veteran of the electronic music scene for over three decades, Hawtin is no stranger to pushing boundaries. However, his recent performances have taken a decidedly minimalist approach, with a focus on sonic exploration over visual spectacle.
“It’s important to remember that we’re performers and people want to be entertained,” Hawtin acknowledges in a recent chat with MusicTech. But he’s quick to emphasise that entertainment doesn’t necessarily mean sensory bombardment. His latest concert series DEX EFX XOX, strips away the excess, leaving behind what is, for him, at the heart of DJing – the music itself.
“This show looks back in order to look forward,” says Hawtin. “It’s about remembering where this culture came from. Lighting was always part of the DJ experience, but it wasn’t something that you directly looked at – it was something you were inside of even when you closed your eyes. I’m trying to do something on a main stage that brings us back into that hypnotic state.”
“I’m always trying to create and control new audiovisual experiences,” he continues. “Every club setup is like an art installation. Now that DJing has taken an incredible step up, it should be comfortable on a main stage, but it’s very easy to lose yourself in all the possibilities of a large show and end up creating something more for the eyes than for the ears.”
As Hawtin puts it, “I think there’s a trend these days to over-entertain and try to get as much attention as possible.”
“Right now, I just want to continue delving even deeper into the art of DJing; to focus on the sound and give people an evolving, heartening version of what DJing is.”
The post “It’s very easy to lose yourself in all the possibilities of a large show and end up creating something more for the eyes than for the ears” Richie Hawtin warns against the spectacle of modern DJing appeared first on MusicTech.

Slate Digital release Submerge Using a compressor’s side-chain input to produce creative ducking and pumping effects is a popular...

The Acolyte’s Michael Abels: “To be creative, you ignore intimidation and do what’s right for the story”The sound of Star Wars has come a long way since John Williams first put those iconic themes into the world in 1977. Since then, Williams has continued to make the franchise one of the most sonically recognisable and has been joined by the likes of Natalie Holt, Nicholas Britell and double Oscar winner Ludwig Göransson for the small-screen iterations of the franchise.

READ MORE: Richie Hawtin is proving why DJs must embrace technology: “It’s about going beyond just putting two records together”

The latest composer tasked with following in William’s footsteps is Michael Abels, an American composer whose work on the 2022 opera Omar landed him a Pulitzer Prize. He’s also written scores for Jordan Peele’s movies, Get Out and Nope.
The Acolyte takes Star Wars in a new direction, set roughly 100 years before Episode I: The Phantom Menace, marking the earliest era we’ve seen the franchise in live-action.
However, the series has drawn notably more audience criticism than other Star Wars projects. Fans have strongly bemoaned The Acolyte’s storylines, performances and episode lengths, with many lambasting Lucasfilm president Kathleen Kennedy and claiming that it conflicts with other Star Wars plot lines.
Mixed reviews aside, The Acolyte tells the story of a group of Jedi coming to terms with rising darkness in an era of peace. And, thankfully, Michael Abels’ work on the score is among the stronger parts of the series. But it didn’t come without its own challenges.
“It was important that, with these new things, there is also some familiarity,” says Michael Abels. “Because it’s Star Wars and everyone has unique things they love about the franchise. Certainly, for me, one of those things is the music.”
Michael Abels. Image: Disney
MusicTech: How did you approach The Acolyte’s earlier setting and this new era of the Star Wars universe through the music?
Michael Abels: “We chose to have music where the emotions and the actions feel like traditional Star Wars. So, there’s one part of the music that’s very consciously the huge space opera — in the traditional style of John Williams — then there’s another part of it that, as the characters confront unique experiences and situations, the music portrays the new planets, species and characters in the universe. There’s a conscious balance between the traditional and the untraditional in the score.”
The series was accompanied by Victoria Monét’s Power Of Two, a vocal-led pop single. This is unusual for the franchise — where did this idea come from?
“A vocal-led single is a first for Star Wars, and I was excited to be a part of that. The first piece of music I wrote for the series was the music of the Ascension scene in episode three. I wrote that piece and, in its first version, it was entirely vocal. Even though in the episode, you hear it with drums and other instruments, my original take on that was it was all female vocals.
“Near the end [of the series], we revisited that idea and one of the producers, Rain Roberts, played some music by Victoria Monét and D’Mile I was instantly so excited about the possibility of being able to work with them.
“I went to D’Mile and played him several tracks that I thought were worthy of being sampled and that had musical material he could draw from. I was delighted when he chose the Ascension scene music because that was where the whole project started. Then Victoria, over the track that D’Mile made from the Ascension score, wrote this lyric and this melody that just makes it sound like it’s coming exactly from the voice of Osha, the lead character.”
A still from ‘The Acolyte’. Image: Disney
Did you have any favourite worlds or characters to score?
“There are a lot of musical themes — that’s just part of what makes the music of Star Wars. Osha has a theme, though you don’t necessarily hear it until later. Her theme comes in when she’s feeling vulnerable; it’s from very internal moments we hear this theme. Mae [Osha’s twin sister] has music, but it’s very martial arts-oriented, very percussive. There are a lot of Japanese taiko drums and every other kind of percussion instrument that goes in Mae’s vibe.
“There’s a theme that gets played a lot for Sol. I guess it’s his theme, but it’s a theme of the aspiring justice of the Jedi when Osha first sees the Jedi ship. That theme plays not because Sol’s in the picture, but because it represents her aspirations. And there’s another theme for the character who we’re about to meet — it very much rises from the deep. It starts on the very lowest C and rises up in the strings because that character is evil rising. So, you can tell, I think, the amount of fun I had finding the themes of the characters and the story.”
Was there a sense of expectation to live up to the legacy that John Williams and Skywalker Sound have left?
“I think anyone working on anything involved with Lucasfilm [is aware of] the huge legacy and expectation to live up to. And that’s intimidating but, to be creative, you have to just set all that aside and do what feels right for the story.
“I wasn’t physically at Skywalker Sound — the majority of the score was recorded in Vienna, with the musicians of Synchron Stage who were amazing. Skywalker Sound and Lucasfilm’s post-production team were intimately involved in making all of that happen.”
A still from ‘The Acolyte’. Image: Disney
Speaking of recordings, how did you find the balance between live and virtual instruments?
“I love writing for live instruments but it’s not a requirement of my art. Given the kind of score we were trying to create, live instruments were required, as far as I was concerned. At the same time, when there’s a new sound that works in the story and in the world, but it’s outside of live instruments, I don’t have a problem using virtual instruments. I wouldn’t record something live if it was already sounding great virtually.
“We recorded all the strings and brass live and a lot of the woodwinds. There’s a duduk sound which is virtual — it was right in the mock-ups and didn’t need to be changed. Then the percussion, we have these great live taiko drums, and there’s nothing that sounds like that. But a lot of the additional percussion is half live and half virtual. I took it on a case-by-case basis of which parts felt right for the scene. I wasn’t trying to prejudge that until I just watched it and heard it together.”
How does your approach differ from working on, say, a Jordan Peele project to The Acolyte?
“There are some key differences. The composer always has a very personal relationship with the director of a film or the showrunner of a series; how you approach [the score] is dependent on the nature of that working relationship.
“There’s often a large volume of music in a series — even the largest film can’t compare to a huge series with wall-to-wall music. The Acolyte isn’t entirely wall-to-wall music, but there’s certainly a lot. So one of the differences is that you work on a series for a long time and, as you get closer to the end, there’s a [better] understanding of how things need to go; you work in a team for such a period that you just develop a system, which streamlines the process.
“In a film, there’s a little more time to dwell on each detail. Jordan is a person who has a mastery of every aspect of filmmaking in every genre. There’s time to go back and look, tell the story a different way and see how that plays. I find Jordan highly responsive to test screenings. Often, if he gets great feedback at a test screening, he’ll want to lean into the things that the audience is responding to.
“It’s great to be able to create in these different ways and try things out. I’ve certainly learned so much about storytelling by doing both films and TV series.”
Michael Abels and ‘The Acolyte’ showrunner Leslye Headland. Image: Disney
Were there any unique instruments or sounds that you used on The Acolyte that we might not have heard in other Star Wars projects?
“I don’t know what would have been used that hasn’t been heard in some way or at some point in the Star Wars world. There are some fairly intense, horrific moments in The Acolyte — or, at least, the approach to the music is very much in that vein.
“Some cues are very dissonant and atonal and designed to terrify. So, there, I’ve used sound design aspects and extended orchestral playing techniques which is unusual for Star Wars.”
What else should viewers know about The Acolyte?
“By the time you reach the end of the series, the themes come together in a way that feels very organic and it’s a terrific musical conclusion, as well as a conclusion to a story. I hope that people who appreciate music’s ability to tell a story, hear that in the music and appreciate that for what it is.”
‘The Acolyte’ is available to stream now on Disney+.
This interview has been edited and condensed for brevity and clarity.
The post The Acolyte’s Michael Abels: “To be creative, you ignore intimidation and do what’s right for the story” appeared first on MusicTech.