Category Archives: Trance

Goth music fans descended on the majestic YouTube Theater for a rare performance by electronic music pioneers Soft Cell. Along with a handful of other experimental pioneers in the genre, like Gary Numan and Depeche Mode, Soft Cell helped create the music that would become the soundtrack of the 1980s new wave dance music genre.

Charismatic lead singer Marc Almond brought the infectious rhythms of Soft Cell to an enraptured audience at the Inglewood, California venue on August 24th. The short tour, which included only five select cities in the United States, was billed as the final Soft Cell tour celebrating the 40th anniversary of the mega-hit dance tune Tainted Love. However, the anniversary was actually last year, and as Almond would disclose in one of his many interactions with the adoring crowd, delays and disappointments had plagued the planned celebration. First, the pandemic and then travel issues delayed the plans. Then one half of the duo, that is, Soft Cell, electronic music magician David Ball apparently injured his back and couldnt make the tour. But Almond soldiered on with a new keyboardist, a saxophonist, and three backup singers to complete the tour so He wouldnt disappoint his fans again.

Philip Larsen, the Grammy-winning producer, stood in for Dave on synthesizers for the five dates. As well as co-producing the current album Happiness Not Included, the fill-in keyboardist did a magnificent job creating the rich layers of Soft Cell music during the show. Meanwhile, Almond delighted the crowd with an inspired performance full of 80s dance moves. The show featured two distinctive sets, the second including the entire breakthrough 1981 platinum album, Non-Stop Erotic Cabaret.

The first set featured songs from Soft Cells new electronic music masterpiece, Happiness Not Included, interspersed with deep cuts from the duos other albums stretching back to 1982. The show began demurely with a stoic Almond opening with an early 80s tune, Torch. The group took full advantage of the state-of-the-art sound system with a phenomenally rich layering of sounds coming from the single synth performer. Very subtle multimedia began behind the group, which slowly grew to a multiscreen presentation midway through the set. Random images slowly began to include much more compelling storytelling. The opening song was followed by two tunes, Bruises on All My Illusions and Happy Happy Happy, from the new album that showcased Almonds incredible vocal range. Almond slowly became more animated with ever-increasing dance moves, flashing grins, and offering insightful banter before each song. The song Monoculture came next from the duos previous album, Cruelty Without Beauty, recorded in 2002. Next came another blast from the past with the tune Where The Heart Is from the 1983 album, The Art of Falling Apart.

It was time to dance to the next tune, Nostalgia Machine, from the new album. Again, the infectious rhythms had almost everyone in the audience up on their feet, trying to emulate Almond, who had launched into a full dance groove by this time. Several more tunes from The Art of Falling Apart showcased the talents of the three backup singers, any of which could take the lead on their own, and the infectious wails of the talented saxophonist. Finally, the multimedia presentation came alive with multidimensional screens for the last tune of the first set, Martin," also from The Art of Falling Apart.

Following an intermission, the lights went out, and the group emerged to perform the much anticipated Non-Stop Erotic Cabaret in its entirety. The audience let out a huge cheer, and most leaped to their feet with the first notes of the opening song, Frustration. That was followed quickly by the second tune on the album, Soft Cells' mega dance hit Tainted Love. While Soft Cell made the song a mega-hit, the backstory of the song is no less compelling. Gloria Richetta Jones first recorded the music, and the R&B-infused tune was a big hit in 1965. The incredibly talented singer was known as The Queen of Northern Soul. Jones became enamored with the legendary rock guitarist Marc Bolan and became the keyboardist for Bolans massively popular band, T. Rex. Unfortunately, the story took a tragic turn in 1977. Jones was the driver of the car, a Mini 1275 GT, that crashed near Barnes Common in England, striking a tree and killing Bolan. Later, Almond and Ball made the song their own with their inventive electronic soundtrack, making the tune a dance club staple for decades.

The elated crowd began to settle down after the dance fever induced by the famous track, and many fell into a more profound trance listening to the mastery of the other tunes from the monumental album. Led by Almond's exquisite vocal range, the music moved from gothic gloom to seedy synth and back to dance-infused rhythms. One fascinating video featured a slow-motion pre-dawn stroll through the streets of London in a pouring rain utterly devoid of life. The dance trance tunes Seedy Films and Sex Dwarf saw most everyone back on their feet in the audience while vintage footage of New York's red-light district flashed across multiple screens. An emotional Almond thanked the crowd repeatedly between songs, once quipping that Los Angeles has always been a special place close to my heart.

The tune Chips on My Shoulder elicited a sing-along that echoed through the perfect acoustically designed venue. The second set ended with the appropriately titled Say Hello, Wave Goodbye.

Almond and the entourage returned for a two-song encore, beginning with another tune from the new album, Purple Zone. The audience may have felt that the song was reminiscent of another English 80s dance phenomenon Pet Shop Boys. In that case, it could be because that mega-hit duo were guest performers on the new recording. After the upbeat dance tune, Almond thanked the passionate audience and offered an extended second version of Tainted Love, the version most often played in dance clubs. The song was a perfect ending to the nearly three-hour performance, slowly trailing off as the group members left the stage one by one.

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Soft Cell | YouTube Theater | 8/24/22 - Grateful Web

Lee Yo Mi She won a 2022 Emmy for Outstanding Guest in a Drama Series for her role on Netflix squid gameBecome The first Korean actress to win the award in this category. Coleman Domingo won Outstanding Guest Actor in a Drama Series for his role in it trance. It is the first Emmy Award for both actors.

Thank you very much for this great honor, he told me via an interpreter, upon accepting the award. I would like to say a big thank you to the Television Academy, and especially a big thank you to my Netflix team as well.

Then the actress added in English: I am very happy, thank you!

squid game It made history this year as the first non-English language series to win a Best Drama Series nomination. It also received nominations for Best Actor (Lee Jung-jae), Best Supporting Actor (Park Hae-soo, Oh Young-soo), and Best Supporting Actress (Jung Ho-yeon).

So much kindness has brought me to this point, the people who love me, the people who lift me up. Thank you to these people, Domingo said in his acceptance speech. trance Content creator Sam Levinson and his Most Creative Artists team. The actor also thanked his wife, Raul Domingo, saying, Thank you, dear Raul, this is for you.

Among the other nominees in the category of Guest Actress in Drama tranceMartha Kelly, morning showMarcia Gay Harden and SuccessionAmal Davis, Sana Lathan and Harriet Walter (who was also nominated for a guest role in Ted Lasso).

Other nominees in the category of Guest Actor in Drama include OzarkTom Belfry and SuccessionAdrien Brody, James Cromwell, Ariane Moayad and Alexander Skarsgrd.

Lifelong beer expert. General travel enthusiast. Social media buff. Zombie maven. Communicator.

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Lee Yu Mi and Coleman Domingo win the 2022 Emmy for Outstanding Guest Actor in a Drama Series - The Hollywood Reporter - BEAM Media

Driving through the congested bazaars of Kasur encroached upon by an army of motorcycle-rickshaws, you reach a busy intersection where you park and start walking along a narrow road. Noticing many other people walking in the same direction and hearing the sound of drumbeat from afar, you know youre on the right track.

The entire 5-7 min Railway Road track meandering up to the shrine of revered Sufi saint Baba Bulleh Shah is dotted with multiple security checkpoints and walk-through gates, though the officials manning them appear least concerned. Its a vibrant market with several shops selling the very popular Kasuri falooda, Kasuri methi, andrassay, qatlamma, aloo chaat and kababs to jewellery, clothes and shoes.

After entering from the rear gate of the high-walled barbed-wire shrine complex, the path to the main tomb is lined with devotees fanning visitors, and then youre confronted with a massive swarm of people in the large courtyard. Theres a reason for this crowd: the 265th Urs of Baba Bulleh Shah is under way and these devotees have come to pay their respects.Devotional songs are playing aloud and hundreds of men of all ages, and a couple of women and malang, perform the dhamal in unison. There are children running around, while families sit in groups chatting or get some rest inside a large hall opposite the tomb.

Vendors roam around carrying nimko and other snacks, some devotees offer water to the visitors, theres a stall in a corner selling Bulleh Shahs kafis, jewellery and wristbands.

Saeen Mushtaq Ahmed, a malang is conspicuous by his appearance as are most malangs, but this one is unique - clad in a loose white outfit, adorned with several beaded necklaces, dark sunglasses, and ghungroo. The 70-year-old devotee tells Dawn hes been coming to the Urs all by himself for 35 years. Belonging to what he claims is the Kot Musa area, I come here for my friend, my love. I love him and he loves God. These ghungroos are also his blessing; everything Im wearing is his. I stay for the first day of the Urs and will return the next morning after Fajr prayers. This has been a ritual for over 30 years. I left home thinking Ill offer Juma prayers in Bulleh Shahs Kasur, and I did, he says while swinging in a trance.Nimko vendor Ghulam Nabi from Sahiwal has two reasons for coming to the Urs: paying respects to Bulleh Shah and earning a living. Ive been coming here for seven years with my entire family. We stay here for all three days of the Urs. Ive noticed an increase in visitors from the past few years.

Dressed in a bright red flowing outfit is malangni Mai Mastani from Lahore. The bejeweled woman has been attending the three-day Urs celebrations for as long as she can remember. I enjoy the langar; theres no worry for food or anything. I come here at the doorstep of Gods own wali to walk on Gods path. This is haq ka rasta and we should walk on it, far from worldly matters. Besides, I also pray for whoever asks.

Another devotee sitting on the white marbled floor outside the tomb is Rukhsana, whos been attending the Urs since she was a child. She comes to Kasur alone from the Khuddian area. I come here for our pir, our ancestors used to come here too and now its our turn. We pray here on all three days, donate and just play our part.

Then there are some families who have just come for the festivity and entertainment. As the sun sets, a live qawwali begins after the Maghrib prayers and a horde of entranced visitors sit silently in front of the qawwals as they sing Bulleh Shahs poetry, and malangs do the dhamal as the celebrations draw to a close for the day.

Published in Dawn, August 28th, 2022

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Bulleh Shah's 265th Urs celebrations: A melange of trance and ecstatic exuberance - DAWN.com

Emma Hewitt. Photo Credit: Aaron Walls

Trance music queen Emma Hewitt chatted about her new solo single Into Your Arms and the Markus Schulz remix.

How did Into Your Arms come about?

Into My Arms kind of came through in sections at different times, before it became a completed song.

At first, it was a melody that kept haunting me as I walked down the streets where I used to live in Hollywood, it was crudely sung with nonsense words into my phone, where it stayed for some time.

Then during the lockdowns, I found myself separated from loved ones, wondering when and if I would ever be reunited with many of them in this lifetime. The song was completed, with this sense of longing for those familiar faces but holding onto the hope that in some form we would meet again.

The initial bones of the instrumental were based around a demo I was given by Robert Koch, we found the idea just perfectly fit this music.

Then we (my brother, myself, and out friend and colleague Tim Henwood) worked on many live parts with organic instruments to build the soundscape we were hearing inside our heads, we also had amazing drums played by Pete Marin, who really bought the feel to life.

I love the Markus Schulz remix what was that like?

Thanks! Oh So do I! Markus is unreal and is a great friend, I played him the original song and he really felt it. I knew he would have the perfect musical vision and style to create something that would stay true to the slightly melancholic yet hopeful feel of the lyrics.

This was definitely a song that suited Markuss slightly darker edge, it couldnt be too happy. When I first heard Markus mix I loved it so much I had tears! He nailed it!

What is your personal favorite song of yours in your catalog?

Im not sure of my favorites, to be honest. Really my time with the songs is when Im writing and recording them, then Im in the moment, fully with each one.

The songs each become my favorite during this creation process, while Im living inside them. Once they are finished and released, its like my time with the song is done and I move on to the next. I only rarely revisit them.

What do your plans for the future include? (Any new music in the works)

Definitely new music in the works! I have another couple of singles coming out before the full album, all with some killer remixes on them! Then we are finishing up the next EP with Elysian.

After that, I will perhaps look at some more collabs as well as some more acoustic-based music. I really want to add some acoustic-based shows around the club shows as well.

If you were to have any superpower, what would it be and why?

Teleportation! So I can pop in and out to have some margaritas and chats with my besties and family, any time, anywhere in the world!

What does the word success mean to you? (My favorite question)

Success to me means lo living your purpose. Doing the thing you feel like you came here to do and giving it your best efforts. Making some kind of positive impact on the people you meet along the way and enjoying the process of life throughout the journey.

What would you like to tell our readers about Into Your Arms? (Whats the one thing you want them to get out of it)

I feel like every song can morph and change its meaning, depending on whos listening and what they are going through in that moment. So my hope is that if anyone identifies with something within the song, they will connect with that in their own way and find the meaning that speaks to their own situation.

Id also love perhaps for people to take the message of appreciating every small moment we have with the people we care about.

To learn more about Emma Hewitt, follow her onInstagramandTwitter.

Read More: Emma Hewitt dazzles with Into My Arms song and music video

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Chatting with Emma Hewitt: The Queen of Trance Music - Digital Journal

How diverse can electronic dance music (EDM) really be? Four genre-bending asian DJs are shaking up the world of EDM and carving a niche for themselves.

The rhythm of the music was precisely 120 beats per minute, the frequency of the foetal heart rate, and the same beat believed to be used by South American shamans to bring their tribes into a trance state, once said the American writer and worlds sixth-most influential thinker Douglas Rushkoff, in his lecture titled Consciousness.

With EDM and dance music in general embedding itself as a crucial part of popular culture, DJs and music producers assume the roles of artists who define our collective leisure and, with it, dictate the ways in which the new coil of art and culture will turn.

Whod have thought that reggae and dubstep made EDM bedfellows? The co-existence of the two genres inside a single track may sound like the hypothetical union between Aries and Pisces (which,according to astrologists and fortune tellers, is doomed to fail), yet if theres one artist capable of pulling it off its Florida-born HenryFong, who rose to prominence after remixing Dillon Franciss Without You in 2014.

Fongs DJ career began in college after he saved enough money to buy a mixer and two turntables, and then endured countless sleepless nights digging through tutorials and enlisting the help of friends to learn the popular music-productionsoftware Ableton. Unlike many of his peers, Fong wasnt groomed to be a music producer by Hollywood mentors. Instead, he began in Orlando performing weekly, four-day-long residences around local clubs. I started DJing first and then stepped into production, he says.

His ultimate, dare one say, pice de rsistance as a solo artist is Pica a short yet pungent mix of Caribbean and Latin sounds,layered over a colourful electronic confection with characteristicprominent sub-bass features. Think classic music-festival hit summery, fresh, and infectious. A month ago, Fong released, Morena, a new track that plays with Latino music tropes even more than Pica and essentially Fongs love letter to South Florida.

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In 2019, Starry Night soundtracked the undergroundnightclubs, the lofty ballrooms of techno capital Berghainand all the hottest beach raves in Europe. The visual and musical masterpiece 90s house mashed up with 70sdisco combo in a lush, saturated cinematic video marked the transformation of its author, Korean Peggy Gou, from EDM debutante to international club-scene phenom.

Before becoming Berghains DJ-in-residence and a Coachella regular, Gou was a London College of Fashion graduate, whose passions encompassed design,photography and styling. The thing that stayed with me through all of this was music, she later said. TheBerlin-based Gou learned music production and cultivated her signature style which, despite the universalacclaim now surrounding it, took time to resonate within DJ circles, given the proclivity of the predominant playerswithin the space white men to slap on an old T-shirtbefore the set and call it a day.

Gou inhabits club musics feelgood corner. It Makes You Forget, for example, is atropical heatwave that feels as seamless and luscious in itsproduction as its invigorating to the mind. The record issoft yet not mellow, with Gous vocals vibing and grooving with the beat, as if calypso stepped out of Homers poemsand started making music.

Two years prior to Starry Night, Gou met the late Virgil Abloh at the closing party for Stockholm Fashion Week, where both were performing. He introduced her to New Guards Group the Italian luxury conglomerate that owns Off-White, AMBUSH and Opening Ceremony. We see some of Virgil in you, the executives told Gou at their first meeting. Bingo! By 2019, Gous streetwear brand Kirin, backed by New Guards Group, was retailing at Farfetch, HBX, YOOX and Lane Crawford. Beyond starry days and nights, Gous living and sampling the galaxy.

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The concept of darkness pervades electronica, from the works of Skrillex to Swedish House Mafia. However, no DJs meticulously curated gloom could rival that of ZHU in its sex appeal.

Chinese-American DJ Steven Zhu rose to prominence in 2014 with the release of Faded, a dance track with an acidic synth bassline, seductive distorted vocals and a simple keyboard composition that lends an elevated feel; it could be described as what it would feel like if a thick smoke somewhere in Parisian Castel became a record. In 2014, Faded was Grammy Award- nominated for Best Dance Recording.

What many perceived as an overnight success was, in fact, the culmination of years of hard work. Zhu started as an audio engineer at Dim Mak Records (the Steve Aoki-founded label that represents Borgore, Zedd and The Chainsmokers), where hes believed to have ghost written tracks for multiple artists while working occasional gigs at after-hours locations around Hollywood. Unfortunately, his efforts werent recognised, and Dim Mak never allowed him into the ranks of featured artists.

ZHU persevered. In the summer of 2011, he released the 52 to ZHU project, whereby he created a new track from scratch every week for a year. Soon after, he caught the attention of music producer David Dann, who helped him release Faded. Ironically, ZHU chose anonymity as his brand, inspired by a desire to be judged by the music alone. His most recent tracks, while preserving the macabre undertones of earlier compositions, like Moves Like Ms Jackson, developed a luxe polish,which propelled them directly into glamorous nightclubs and the earphones of selected glitteratiaspirants. Think gilt-edged dark avant-guardians.

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As a base for their tracks, jazz is far from the first choice of DJs thats especially true now, with genres such as techno foregroundingthe rave scene. Korean-American DJ, model and photographer Yuka Mizuhara, however, is anything but conventional. For a start, theres that small matter of her older sister, the Japan-based model Kiko Mizuhara. Yuka Mizuhara, or Ashley Yuka, or just Yuka, as she moods her moniker, began mixing music in 2018; later that year and aged just 23 she was already performing at The Shoppes at Marina Bay Sands.

In her performances, Mizuhara often uses groovy soul hitsfrom the 60s and 70s, with occasional splashes of the 80s, ensuringeach is blithe, joyful and light. Although its hard to imagine Berghain ravers partying to Mizuharas tracks, jamming by the poolside with a margarita to the 46-minute-long mixtape she debuted at Agnes.b Japan could be quite a way to be-leisure a hot summer afternoon.

West Coast is where Mizuhara is making waves currently. In April, she did a set at The Knockout underground bar in San Francisco and, a month later, she performed at the Visions festival at Cliftons Republic, one of the oldest nightclubs in Los Angeles, alongside DJs Acyde and Rodaidh. Much like her tracks, Mizuharas philosophy challenges the conventional perception of the DJ scene. DJing should be about mood, she notes. You cant just bank on having the same tempo thats just too easy.

In 2019 Yuka appeared alongside sister Kiko and her parents in a special celebrity episode ofQueer Eye, whenthe Fab Five travelled to Japan. There, the siblings spoke about how the pandemic forced them to stay in Japan, which both used as an opportunity to reconnect with their family members and each other. Yukan be unicorn, rainbow, the best version of your inclusive self, when youre in the mood for Yuka.

Cant get enough? Scan the QR code below to listen to the entire EDM playlist:

This story first appeared on PrestigeOnline Hong Kong

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Just Dance: These Asian DJs Are Revolutionising The EDM Scene - Augustman Malaysia

ISLAMABAD: PTI leader Shaukat Tarin has allegedly asked Punjab Finance Minister Mohsin Leghari to withdraw from the International Monetary Fund's (IMF) deal, just two days after the Khyber Pakhtunkhwa government backtracked from it.

KP and Punjab provinces are under PTI's control and there have been repeated instances where the federation and provinces have had differences and it all started in April when Imran Khan was ousted.

The leaked audio came to the fore on the day that the international lender's executive board is scheduled to meet for considering Pakistan's request of releasing the $1.2 billion tranche under the Extended Fund Facility (EFF).

Economic experts expect the IMF deal to go through despite the setbacks as all the prerequisites have been met, however, if the board decides against releasing the trance, it will deal a huge blow to the country's already faltering economy.

The KP government which is completely under PTI's control has already written the letter, but Punjab which PTI rules in coalition with PML-Q is yet to write it.

In the leaked audio, Tarin can be heard asking Leghari to tell the lender that the commitment Punjab made was pre-floods and now the province "cannot honour it".

"You have signed a Rs750 billion [surplus] commitment with the IMF. You now need to tell them that the commitment you made was before the floods, and now [Punjab] has to spend a lot of funds for [the] floods [rehabilitation]."

"You need to say now that 'we will not be able to honour our commitment'," Tarin said, telling Leghari that this is all he wants - for pressure to increase on the incumbent government.

The PTI leader told the finance minister to draft a letter and send it to him for vetting so it could be sent to the federal government and later on to the IMF representative in Pakistan.

At Tarin's request, Leghari asked whether Pakistan would suffer if Punjab the largest province of Pakistan withdraws from the deal.

"Well, frankly isn't the state already suffering because of the way they are treating your chairman [Khan] and everybody else? IMF will definitely ask them: where will you get the money from now?" Tarin responded.

Tarin said that this could not go on further and the party could not bear being "mistreated" and not respond. "We cannot be blackmailed," the PTI leader said.

In another leaked audio, Tarin can be heard asking Khyber Pakhtunkhwa Finance Minister Taimur Khan Jhagra if he had written the letter.

I am on the way. I have the previous letter. I will send the letter to you after drafting it, replied the KP finance minister.

Hatching a conspiracy against the IMF deal, Tarin directed Jhagra that the key point of his letter should be the floods devastations in the province.

First point [of the letter] would be that we need huge financial aid for restoration of infrastructure and rehabilitation of flood affectees, Tarin tells the KP finance minister, adding that he has already briefed Punjabs finance minister about it.

By the way, this is a blackmailing tactic, he said, adding that nobody leaves money.

In a press conference later, PTI Secretary-General Asad Umar said Tarin being a former finance minister understands the country's economy and, therefore, he didn't suggest anything wrong.

"He told both finance ministers to tell the federal government they should go back to the IMF and inform them that we [our provinces] have been hit by a flood and it is not a normal situation," Umar said.

The PTI leader said that Tarin asked the finance ministers to tell the federal government that it should seek a concession in the budget surplus that was initially agreed upon.

"Will a sensible person believe that this wasn't a good suggestion? Didn't Imran Khan, when COVID hit the country, ask the IMF personally for fiscal space? Wasn't a debt relief programme started for developing economies?" Umar questioned.

He added that it is sensible to seek concession from the international lender given the current situation.

"Prime Minister Shehbaz Sharif is asking countries for funds to provide relief to the flood affectees. Can't you ask the IMF to provide fiscal space for a certain period of time, so we can rehabilitate our people through our own money and not ask others for donations?" he stressed.

Umar claimed that the letter was sent to the federal government and not the IMF.

Seperately, PTI Senior Vice President Shireen Mazari said that there is "nothing illegal or wrong in the conversation".

The PTI leader said that the party has publicly opposed the terms on which "imported government" is taking loans from the international money lender.

"But what is illegal is the wire-tapping done on the conversation without court order. A criminal offence."

In conversation with Geo News, Federal Maritime Affairs Minister and Muttahida Qaumi Movement-Pakistan (MQM-P) Senator Faisal Subzwari said the audio leak was not "unfortunate", but "embarrassing".

The MQM-P leader reminded the PTI that the state is at stake, not the government of Prime Minister Shehbaz Sharif, and that it was ex-finance ministers Tarin and Abdul Hafeez Shaikh who made the deal with the IMF.

"The Shehbaz government followed through the PTI-IMF deal. Where are they [the PTI] taking this country?" the senator lamented.

Subzwari said what the PTI did was "shameful", adding that whoever is behind this act is not a well-wisher of the Pakistani nation.

For her part, Climate Change Minister Senator Sherry Rehman said that the PTI was ready to push the state towards economic turmoil to satisfy its ego.

Rehman said her party was trained to ensure that the country's interest was kept first, but the PTI is taught otherwise.

"Damaging the country is a serious crime."

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Shaukat Tarin instigates Punjab to withdraw from IMF deal - Geo News

Chlo Bailey is packing a punch in silver at the 2022 MTV Video Music Awards.

The singer arrived at tonight's festivities channeling goddess energy in an entirely metallic gown. The silver-beaded piece included a black mesh bustier, draping around the waist, and a thigh-high leg slit. Her accessories were just as dazzling, including her diamond leaf bracelet, diamond rings, and bedazzled blush manicure.

Dimitrios Kambouris//Getty Images

Dimitrios Kambouris//Getty Images

Chlo's debut solo single, "Have Mercy," is up for an award tonight in the category of Best R&B. She is also among tonight's presenters, alongside Ashley Graham, Avril Lavigne, Dove Cameron, Lili Reinhart, and more.

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The singer released "Have Mercy" back in September 2021 and performed the single for the first time at last year's VMAs.

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.

Chle Performs "Have Mercy" | 2021 VMAs | MTV

She previously talked to MTV about the making of the song's explosive music video. "Men can glorify ass in their videos. I want to do it with this in an artful, really fun, beautiful way," she told the outlet. "I think it's so great how women can claim ownership of their bodies and not let the world do it. We get to do it in the way that we want to."

The video's visuals leaned into a "modern-day Medusa" myth, Chlo explained. "I wanted to make it all about ass, but in an artistic way," she continued. "I think it's so cool how women have this incredible power. They can leave men in a trance with their bodies and their spirits and the way they carry themselves."

Chelsey Sanchez is an Associate Editor at HarpersBAZAAR.com, where she covers pop culture, politics, and social movements.

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Chlo Is a Goddess in a Silver Gown with the Highest Thigh-High Leg Slit at the 2022 VMAs - Harper's BAZAAR

Legendary trance producer/DJ Ferry Corsten recently brought his What the F show to Exchange in Los Angeles for a special open-to-close set. Fans were treated to a wonderful journey through more than two decades of trance as Ferry dropped his kitchen sink of productions that hes been behind over the years.

Ferry started out with some System F and then weaved in and out of other iconic productions including his newer tracks on his own label Flashover and some classic Armada tracks too. Not only was the evening an epic journey through Ferrys career, it was also a fascinating look at how dance music (specifically trance) has changed over the years.

We got the chance to have a brief chat with Ferry prior to the show. We talked about what Ferry has been up to over the past couple of years, his thoughts on music and the industry and a preview of whats to come

I guess the first thing that came out right after the pandemic hit was my ambient album, FERR. So, I got a lot of questions like are you a time reader, was that on purpose? Since theres a pandemic, people would listen to more chill stuff? But, that was just a coincidence, I was already working on that stuff. On the road, basically, getting away from the four x four stuff. When I was on the plane, just putting some mellow stuff together. And before I knew it, I had an album worth of tracks. So, that came out, after that Ive been working onwell, basically for 2020, the What the F tour Im doing now. That was already planned for 2020, so I was already working on that a little as well. And, of course, that fell through, so I put it aside for a while. Hoping for 2021, but that didnt happen either.

So, in the meantime, yeah, what did I do? Ive just been releasing tracks, but its weird to be in the studio. Everyone works differently, right? But, for me, it was different to be working on dance music or trying to work on banging tracks when theres no purpose. Theres no dance floor, no festivals. So, I really enjoyed doing some of the more mellow stuff, because, I really felt for me personally, that was what my vibe was throughout the two years, I guess. So, I released a bunch of more mellow tracks, Id say, and then, all of a sudden, the flood gates are open again and its full steam ahead. So, before I knew it, I had like, oh yeah, but Ferry, you also have your promised What the F dates coming up again, and you still have to put the show together. So, its like, ah, okay.

So, I went into the studio, just worked on that, because to go through 20 years of tracks, you know, that was quite a mission. There was so much music to go through; which is playable, which is something I want to play, what is a track that I want to play but doesnt sound good anymore, it needs an update. Did a lot of that, as well. Some of the older tracks that are cool when you listen to them solo, but, if you listen to them in a set next to very up to date tracks, very new tracks; they just sound, sonically, they sound old. So, Ive been updating them, reproducing them, to make it match with todays punch if you will.

So, yeah, that was a good two-and-a-half months of production and putting it together. Also, you have to tell a story, you have to stay interesting for about six hours. And, I didnt want to do a chronological thing. Its not like, oh yeah, the old tracks come at the end. But, yeah, it was quite a mission to get it started. But, yeah, in a nutshell, thats my two years.

Theres four more dates coming up, Ive got San Francisco and LA, and Ive got Washington DC and Chicago. But, then theres Norway, theres Ibiza, theres some Asian stuff were working on.

Its almost like slipping back into autopilot in a way, in terms of doing the festivals. But, playing the music, for me, to be honest is quite a bit of a new thing, a different thing. Because so much has happened, music has changed a lot. A lot of stuff has become, and what I feel connected to has become a lot deeper. But, yeah, its interesting to see the new sounds that are big right now versus three years ago. Obviously, main stage is still EDM, its still the same thing, but the rest, theres a lot of changes going on. Techno is huge right now, of course, but, also, I dont even know what to call it. In my book, its noted as trance, but very progressive, and slow, but the stuff like Artbat, that sound is just something that I feel attracted to, and inspired and interested by. So, yeah, its interesting to see where this year is taking me personally with my sound.

Yeah, theres definitely a little nostalgia thing going on. I really think that is something that developed through the pandemic, through lock down. You know, theres nothing to look forward to, so you look back, right? I think for example, Dave Dresden, with his whole, every night or every week he had his stream where he was playing old stuff. So, thats a good example of what was going on, and you really hear that now as well. A lot of the stuff thats coming out right now, it has this sort of like early-2000s, maybe even late 90s type of vibe to it, which is very interesting as well. Thats another sort of new thing that Ive been hearing a lot lately. Where, before the pandemic you would say, Oh, man, that sounds dated and old school. You know, too old. Now, its the cool thing!

I dont know, thats a tough one, I dont really think I can just put my finger on it. And, in fairness, that would be really easy as well. I mean, where would I want to go? I did my last album Blueprint back in 2016-2017. It was the one with the narration and the whole story. I kind of want to revisit that concept again. Not that Im going to Blueprint Vol. 2, I dont really think that you canIf you do something, the follow-up is alwaysit has to be really good for it to be better than the first. So, instead of doing a follow-up, its something completely different. But, the actual concept of doing a story again, I really, really enjoyed doing that album because of all of its facets. That was the album, you know? The artwork, the story, just the whole thing, I felt like I was making a movie without picture. So, yeah, going back there again would be awesome. Thats definitely something I would want to do again.

Ive done a score for a movie called Dont Go. Id love to do that again. Making music is one thing, but making music or composing to an actual picture, its a whole different ball game. And just the process itself was really cool too. Obviously, the pictures that youre watching and knowing what the storyline is, that already brings an emotion in its own right. Then, you add the music to it, and its like, wow, its amazing.

Yeah, I really feel like doing collabs is a good way to get yourself, sort of switched on again. All the guys you work with, they bring ideas to the table, and so do you, for them, so you feed off of each other really well. Ive just been in the studio with Markus Schulz, theres something cool coming up with him. Ive been talking to Ilan again and a few other guys, but Ill keep that under wraps for now.

Yeah, well, I hope to see you all at the What the F shows, especially for the people who have been following me for a while, you will be served your favorite meal.

Check out the latest from Ferry Corsten, You Cant Stop Me out now on Flashover/Armada. If you missed out on What the F, check out his 3-hour What the F! Special Ferry did a couple months back.

Excerpt from:

Ferry Corsten Brings "What the F" to Los Angeles [Event Review & Interview] - Your EDM

With just minutes to spare before he got behind the decks, Jason Ross continued embracing his loyal fans who lined the back patio of the Academy in L.A. As he ended the meet-and-greet, those same adoring fans rushed toward the stage of the Hollywood venue while Ross readied himself to perform for them.

The performance was the conclusion of Ross' Atlas album release party, an intimate event open to fans and ticket holders to his upcoming tour. The soiree highlighted Ross' admiration for his passionate fanbase, to whom he dedicates his latest effort.

Over the course of the pandemic, Ross found himself connecting with his legions of supporters through social media groups. As a means to continue playing music for his followers, Ross began to live stream his performances in a weekly series titled Atlas. The recurring shows allowed his admirers to connect with one another and cope with the hardships of quarantines.

Jason Ross.

Shane McCauley

As pandemic restrictions eased, Ross began work on his latest record, a project that would find him continuing to explore the impassioned realms of melodic bass.The culmination of that journey builds on Ross' debut album, 1000 Faces, honing into emotional lyrics intertwined with his signature blend of melodic bass, trance, and progressive.

That excursion has been fruitful for Ross, who began his career producing trance records. His Rooms EP was the first hint Ross gave of his shift in sound, a topic we touched on when we spoke with him at his Atlas album release party.

In our conversation, Ross revealed his sophomore albumis an elevated version of himself. He also spoke onthe intricacies involved in the creative process, ones hedescribed as lucky to be a part of.

EDM.com: It's been two years since we spoke last, how are you and how did you cope with the global pandemic?

Jason Ross:I'm good. You know, it's tragic what happened with the pandemic and all, but I just kind of did what was in my control. I was able to still work and be with my fans. There's been a lot of live streaming since we last spoke, including one with Insomniac. And then towards the end of the pandemic, I started working on the album.

EDM.com: A lot of artists took that time to focus on their sound and start new projects; what led you to create your new album, Atlas?

Jason Ross: It just felt like a good time to take advantage of the time that I hadbefore I started traveling again. I knew I could focus on a big project that I could then take on the roadknowing that shows were coming back.

It was a matter ofknowing that I was ready to take on a project now. I knew I had something to say and it felt like the right time.

EDM.com: The project turned out to be very heavy on emotions, and the lyrics reflect that. Were you aiming for an emotional record?

Jason Ross: It's always something that I look for in music, whether that's through the vocals or through the melodies or anything like that. I also just wanted something that the fans can connect to and so I naturally gravitate to emotional lyricsthings like heartbreak or falling in loveall of those things 'cause that's really what connects with me and my fans.

There's a song called "Slow It Down" with L8NCY, and in it, we talk about slowing things down. Everything is moving so fast, you know? Whether that's in a relationship or with yourself, it's about learning to take it slow and not feeling like you just have to get back out there.

So yeah, I connect to things that have a deep meaning, whether that's being in a relationship or with yourself.

EDM.com: You partnered with many artists for this record, was this planned, or did it come along as part of the creative process?

Jason Ross: It definitely came along as the process went along. There were people that we love hitting up and working with, like HALIENE and L8NCY, but then we dipped our toes into looking for more pop-focused writers and vocalists.

I got to learn about that whole world and we met some amazing people through that. And that got me excited to get into that realm of, not so much pop vocalists, but people that are more in that mainstream world.

EDM.com: You said you learned from them, what did u take away?

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Jason Ross:Oh man, just being in songwriting sessions with these vocalists, they're just so skilled. Obviously, HALIENE and all those people are amazingly skilled, but so are those pop writers whose job is to write every day.

I felt lucky to be a part of sessions with them where they could just tap into what the song will be like. They get in the vibe and they all just tap into memories and stories and experiences and they're able to put them into a song structure. It's crazy what they do and it just gave me a newfound respect for what they do.

They're kind of like the unsung heroes. I'm blown away at the fact that they're just creating this magic around this musical bed that I gave them.

EDM.com: Speaking of vocalists, Dia Frampton is featured twice on Atlas. You've partnered with her quite a few times throughout your career. Is it safe to say that Dia Frampton is to Jason Ross what Richard Bedford is to Above & Beyond?

Jason Ross: I knew you were gonna say something like that.

I don't know, I mean she's just beenso down to work together and we have such a good relationship. Whenever we're in the studio together we just vibe. And even when we're not in the studio we're just hanging out.

She's just so awesome. And the fans love her too, so who knows? I think time will tell.

EDM.com: When we spoke last we compared the shift in sound from your Rooms EP to your debut album, 1000 Faces. This latest release is sonically similar with the same melodic bass influences. Is it safe to say that this genre is your new lane?

Jason Ross: I don't know. I'm always kind of evolving and trying new things out. The Rooms EP was the first time I experimented outside of trance. It had a psytrance track with Dimibo, and even a downtempo chill bass song.

I think 1000 Faces was where I was like, yeah this is me. Atlas is an even more upgraded, evolved sense of finding my sound.

But I'm always evolving so who knows what the next album will be. I don't think I'm gonna take a drastic turn, but I'm always trying to make the best music I can make and I don't think it needs to stick within a certain boundary.

EDM.com: The new album is being spearheaded by a whole new tour, with your first stop being at the legendary Hollywood Palladium. This is your first time headlining the iconic venue, how excited are you?

Jason Ross: I'm very excited. The Palladium is gonna be amazing. The whole tour will be amazing. It's gonna be a completely new set with new visuals and we're stepping it up a few notches here.

EDM.com: This is your first tour post-pandemic, but it's not your first show back. You recently played at The Gorge Amphitheater and at Moonrise Festival. Was it easy to get back into the show and tour life?

Jason Ross: Yeah, it's kind of like getting back on the bike. We had two years of doing nothing so it's exciting to get back out there. I will say the first show back, there was a small second of realizing, this is weird, but then I got right back into it.

EDM.com: Your album is done and the tour's about to begin. Are there any other projects we should know about?

Jason Ross: We're just focused on the tour right now. We have some exciting plans for the next year that we can't really say much about. But the album's done and now we're in tour mode.

EDM.com: Who's on Jason Ross' radar at the moment?

Jason Ross: Oh man, all of the guys at Ophelia Records. Trivecta, Kill The Noise.Seven Lions has his album coming out soon. Yeah, that's on my radar.

Jason Ross' "Atlas Tour" is on sale now.

Facebook: facebook.com/JasonRossOfficialTwitter: twitter.com/JasonRossOfcInstagram: instagram.com/jasonrossofficialSpotify: spoti.fi/3ocme25

Read more from the original source:

Jason Ross On How His Sophomore Album Reflects an Elevated Version of Himself - EDM.com

TL;DR:

Paul McCartney compared one of The Beatles songs to a James Bond theme. Subsequently, he said the track was tongue in cheek. The track appeared on The Beatles Magical Mystery Tour.

In the 1968 book The Beatles: The Authorised Biography, journalist Hunter Davies described the writing of With a Little Help From My Friends. John started playing his guitar and Paul started banging on his piano, Davies wrote. For a couple of hours they both banged away.

Davies discussed the Lennon-McCartney collaboration. Each seemed to be in a trance until the other came up with something good, then he would pluck it out of a mass of noises and try it himself, he wrote.

RELATED: A Famous Artist Wasnt Able to Work on the Only James Bond Song to Hit No. 1

In the 1997 book Paul McCartney: Many Years From Now, Paul discussed the songs origin. It was pretty much co-written, John and I doing a work song for Ringo, a little craft job, he recalled. I always saw those as the equivalent of writing a James Bond film theme. It was a challenge, it was something out of the ordinary for us because we actually had to write in a key for Ringo and you had to be a little tongue in cheek.

Paul contrasted With a Little Help From My Friends with Yellow Submarine. Ringo liked kids a lot, he was very good with kids so we knew Yellow Submarine would be a good thing for Ringo to sing, he remembered. In this case, it was a slightly more mature song, which I always liked very much.

RELATED: Frank Sinatra Turned Down a James Bond Theme Song and Gave It to His Daughter, Nancy Sinatra

Since With a Little Help From My Friends was never a single in the United States, it didnt hit the Billboard Hot 100. The Beatles included the track on Sgt. Peppers Lonely Hearts Club Band. Sgt. Pepper topped the Billboard 200 for 15 weeks and remained on the chart for 233 weeks altogether.

The Official Charts Company says With a Little Help From My Friends became a double A-side single with Sgt. Peppers Lonely Hearts Club Band in the United Kingdom. The tracks reached No. 63 and lasted three weeks on the chart. For 28 weeks, Sgt. Pepper topped the U.K. charts. It stayed on the chart for 277 weeks in total.

With a Little Help From My Friends was a hit even if it doesnt sound much like a Bond theme.

RELATED: John Lennons Son Named His 2 Favorite Beatles Songs Even Though He Hates Being Asked About That

Excerpt from:

Paul McCartney Compared Writing 1 of The Beatles' Songs to Writing a James Bond Theme - Showbiz Cheat Sheet