Fri, 17 Sep 2021 01:28:07 +0000 en-US hourly 1 Long Beach Symphony returns to live concerts next month, requires proof of vaccination – Press Telegram Thu, 16 Sep 2021 13:07:15 +0000

The Long Beach Symphony Orchestra has a contract with the local Musicians’ Union and will take the stage next month after a year and a half of silence.

The Long Beach Symphony Board of Directors voted this week to require proof of COVID-19 vaccination for all spectators, approved a new contract with the American Federation of Musicians, Local 353, and announced its 2021 schedule -2022.

The next season will start on October 23.

“I am delighted to hear that the Long Beach Symphony is reopening this fall,” Mayor Robert Garcia said in a statement, “and I commend them for playing a leadership role in requiring proof of vaccination in order to ensure the safety of our residents. “

The board of directors approved the vaccination requirement and the new union contract on Tuesday, September 14.

Under the vaccination policy, the Long Beach Symphony will not accept a negative test in lieu of proof of vaccination, said Kelly Lucera, president and CEO of the organization.

As of Monday, September 13, 78% of all adults in Long Beach have received at least one dose of a coronavirus vaccine and nearly 65% ​​of residents of all ages have received at least one dose, city data shows. .

The new labor agreement, meanwhile, has one more step to take.

The symphony and the union reached a tentative deal late last week and the board ratified it on Tuesday.

But the union must also vote on this.

About 80 musicians perform for the symphony in a variety of venues, making it the organization’s biggest expense. The previous union contract expired during the coronavirus pandemic.

The tentative agreement includes a pay rise and partial payment for concerts canceled due to the pandemic. The number of musicians who will participate in the different performances and the number of paid rehearsals are also part of the agreement.

The symphony survived the 18-month shutdown in surprisingly good condition, Lucera said – but not without help.

“On behalf of our Board of Directors, we would like to thank our loyal base of donors and patrons whose continued support has enabled us to endure this extremely difficult period,” said Chairman of the Board, Roger Goulette. “We are eternally grateful.”

The attention of the symphony, Lucera said, now turns to performance.

The Long Beach Symphony released its next schedule on Thursday morning September 16, with the first concert slated to be a POPS! at Long Beach Arena on October 23. It will feature music from the legendary band Queen.

The Terrace Theater will reopen on November 13 for the first classical concert under the direction of music director Eckart Preu. Aaron Copland’s “Fanfare for the Common Man” and Ludwig van Beethoven’s “Symphony No. 7” will be in the spotlight.

“I can’t wait to make music again with this amazing orchestra,” Preu said in a statement, “and I look forward to welcoming our wonderfully supportive audience once again to experience the power and healing of live music. “

Healing plays a central role in the rescheduled “Violins of Hope: Strings of the Holocaust” concert, which is due to begin on January 8th. The concert will feature restored violins and other stringed instruments from the Holocaust.

The other classical concerts of the season are:

  • February 5: Two concertos for two pianos with the Israeli piano duo Sivan Silver and Gil Garburg.
  • March 12: Focus on fairy tales and folklore from Norway and Russia, including the very popular “The Firebird Suite” by Igor Stravinsky.
  • April 30: Musical drama, with Pepe Romero performing “Medea” by Manolo Sanlúcar. Johann Sebastian Bach and Pieces by Franz Joseph Haydn are also on the program.
  • June 4: The season finale will feature a new piece, “Global Warming,” by Michael Abel and Israeli-American cellist Inbal Segev. The final in the final will be “Scheherazade” by Nikolai Andreyevich Rimsky-Korsakov.

The Long Beach Arena will host the POPS parties! concert on December 18th, with the Long Beach Camerata Singers joining the symphony for Christmas favorites, songs to sing along and more. Dr James K. Bass, Music Director of Camerata, will be on the podium.

The 2022 portion of POPS! The series features Brass Transit’s Musical Legacy of Chicago on February 12, and conductor Paul Shaffer – Dave Letterman’s longtime sidekick and musical director – will explore symphonic renditions of his favorite songs, with the legend of Motown Valerie Simpson, March 26. ! the season ends on May 21 with a celebration of the queen of soul, Aretha Franklin.

Information or ticket purchase: 562-436-3203 or

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NFT Dance Music Platform RCRDSHP Closes Multi-Million Dollar Funding Supported by Buyers of $ 69 Million Beeple Digital Artwork Thu, 16 Sep 2021 12:55:34 +0000

The NFT market exploded in 2021 and today announces yet another multi-million dollar funding round for a digital collectibles platform.

RCRDSHP, an NFT platform for electronic music, has closed its first round of investment, which the platform reports to be a “multi-million dollar” round.

MBW understands that the platform has raised more than $ 5 million in seed funding.

Last month, San Francisco-based NFT platform MakersPlace raised $ 30 million in a Series A round led by Bessemer Venture Partners and Pantera Capital.

In May, the NFT OneOf platform raised $ 63 million in a fundraising round from prominent tech and music industry veterans.

The RCRDSHP round table was supported by collectors NFT Metakovan and Twobadour (via PortKey Technologies) and Dapper Labs.

Metakovan and Twobadour bought the most expensive NFT in history in March, a $ 69 million digital artwork created by Beeple and auctioned off at Christies.

According to a press release, each limited edition RCRDSHP collectible, built on the Flow blockchain, “encapsulates a unique aspect of the musical worlds of an artist, label or festival.”

The platform launched in mid-August with a drop of 5,555 “Genesis Packs,” consisting of electronic music and dance digital collectibles.

The release sold out “in a matter of hours,” according to the RCRDSHP, with a second larger version sold out “in minutes” the following week.

CNRDSHP’s music and content partners included Aneesh Gera, Ashley Wallbridge, Bar25, Black Hole Recordings, Blanco Y Negro, Blacksoul Music, Christian Barbuto, Circus Recordings, CloudKid, Dexter King, Dino Maggiorana, Disco Fries, D-Nox & Beckers, D- Unity / Unity Records, Great Wall Festival, HQ Recordings, Iboga Records, Kaiserdisco, Kaiser Souzai / Ballroom Records.

Other partners include Kittball Records, Liquicity, MIKE Push, Magic Music, Mark Knight / Toolroom Records, Mason, Mauro Picotto, Music Over Matter, Minimal Audio, Mobilee Records, Nakadia, Natura Viva Records, Plastik Funk, Robert Babicz, Rob Hes / Pursuit Recordings, RSSRCT, Scott Diaz, Sharam Jey / Bunnytiger Records, Solarstone / Pure Trance, Stefano Noferini / Deeperfect Records, Strange Fruits, TheFatRat, The Scumfrog, Tidy Trax, Transmission Festival, Tribal Trap Records, Vassy, ​​Vision Impossible , Wookie, and many more to come.

“The waves of attention and money that are pouring into NFTs still haven’t reached the vast majority of artists and creatives.”


Metakovan said, “The waves of attention and money pouring into NFTs still haven’t reached the vast majority of artists and creatives.

“A platform like RCRDSHP promises to change the balance and allow more creators to benefit from digital collectibles.”

“RCRDSHP takes NFTs and brings them to a much larger audience by creating a platform that is listening to what matters to music communities. “

Roham Gharegozlou, Dapper Labs

Roham Gharegozlou, CEO of Dapper Labs, said, “RCRDSHP takes NFTs and brings them to a much larger audience by creating a platform that is tuned in to what matters to music communities.

“With their creativity and market knowledge, what we see very clearly is a visionary leadership team of senior music and technology executives at the top of their fields and passionate about miles.”

“We’re excited to launch our vision and create a space where creators can finally reap well-deserved rewards for their work. “

Eric Reithler-Barros, RCRDSHP

Eric Reithler-Barros, Co-Founder and Commercial Director of RCRDSHP and parent company LTMP, said: “The support of such prestigious and knowledgeable investors validates our model and affirms that our approach to digital collectibles and culture electronic music soar.

“We’re excited to launch our vision and create a space where creators can finally reap well-deserved rewards for their work. “

Music trade around the world

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Holland Concert Jazz Orchestra returns with live concerts Tue, 14 Sep 2021 08:09:17 +0000

The Holland Concert Jazz Orchestra (HCJO), a West Michigan Lakeshore-based professional jazz band, returns with live concerts for 2021-2022.

The group will perform several concerts this season after enjoying a triumphant return to the stage with the Holland Symphony Orchestra at the Pops at the Pier concert in July.

For the 2021-22 concert season, the group will feature several guest conductors following the departure of founding music director Jordan VanHemert, who has accepted a teaching position at Columbus State University in Georgia.

Four major concerts are planned, in addition to several smaller concerts using a variety of instrumentation and staff. Mark Wells, a music teacher in the East Grand Rapids Public School District, will open the season with the band at 7:30 p.m. on Sunday, September 26 at the Park Theater in Holland. Admission is $ 10.

Wells has been teaching instrumental music since 2001. He currently teaches middle and high schools in East Grand Rapids and plays solo trombone in the Grand Rapids Jazz Orchestra and the New Big Band, of which he is also a co-leader and co-founder.

Stafford Hunter on trombone will also join the HCJO for the September performance. Hunter is a 21 year veteran of the Duke Ellington Orchestra and was recently appointed Visiting Professor at Hope College in Holland. He has performed with Tony Bennett, Roy Hargrove, Donald Byrd Dance Troupe, Cab Calloway Orchestra, Joss Stone, Orrin Evans, the Mingus Big Band, Lauryn Hill and many more.

The band recently recorded a brand new album with saxophonist Derek Brown, and “All Figured Out” is receiving rave reviews. Recorded in February 2020, just before the COVID-19 pandemic, the album features Brown as a tenor saxophone soloist, along with numerous members of the HCJO and the music department at Hope College.

This is the first recording of Brown’s Big Band album. Brown will join the band this winter to celebrate the album’s release live.

Founded in 2018, the HCJO has promoted its core mission and values ​​of “defending, educating, performing” through high-energy performances, clinics and presentations. The band members have performed with many exceptional bands and musicians, and have had careers spanning decades of performing and teaching.

You can find more information about the group on


Hope teacher takes Lakeshore jazz to the next level with new orchestra

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Live concerts are back in Frost with a star-studded lineup Thu, 09 Sep 2021 19:33:16 +0000 Students at the Frost School of Music are preparing to perform with some of the top performers in this season’s Frost Music Live concert series.

The joy of witnessing live music is rekindled at the Frost School of Music at the University of Miami. The critically acclaimed Frost Music Live concert series is back, offering in-person concerts featuring award-winning artists from Frost’s faculty and outstanding students performing a range of music.

“COVID has limited live music, but it’s time to finally rediscover how beautiful it is to come together, each one hearing different things, while still allowing us to feel collectively – which is so necessary after distance is the Default way to live life, ”said Janelle Finton, a junior specializing in jazz trumpet.

Christian McBride. Photo by Anna Webber

Finton is one of many students who will have the opportunity to perform alongside some of the best artists in the music industry. On September 15, Finton will play lead trumpet in the Studio Jazz Band with seven-time Grammy-winning bassist Christian McBride.

“I am really excited to start working with Christian McBride. Last year I was part of the JAS Aspen Academy big band (in collaboration with Frost) and had the chance to work with him virtually. It will be so cool to perform the music of a master of this music, with him here in person, ”she said. “I am also grateful and thrilled to play alongside such talented peers, with a live audience open to the public for the first time after COVID.”

Jaden Kim, a major junior in studio music and jazz performance, will also be on stage alongside McBride in the Studio Jazz Band, playing the second trombone. He is grateful for this rare opportunity and hopes people will come to this special concert.

“If I hadn’t been signed up to Frost, I would never have been able to share the stage with Christian McBride,” Kim explained. “People should come to this concert because it’s not often that you get to see a world class musician on stage with the next generation of great musicians.”

Shelly Berg, Dean of the Frost School of Music, explained that such opportunities for students are essential learning experiences to incorporate into their professional careers.

“Students can connect with these exceptional artists. It’s like a college basketball player training with an NBA superstar like Stephen Curry, ”Berg said. “You can learn about that little bit more intensity that great professionals have and it’s very meaningful. It is truly an irreplaceable experience.

Berg explained that Frost has loaded up some of the top guest artists this season to celebrate the return of live music.

“We are delighted to welcome a live audience to our concerts. While we are not at full capacity, we hope to expand our audience as the semester progresses with all protocols in place. The Frost School of Music is deeply committed to the health and safety of our guests, performers, students and concert staff, ”he said.

The new season begins on September 11 with an “All Chopin Recital” featuring guest pianist Avery Gagliano, winner of the 2020 Grand Prix of the National Chopin Foundation Competition.

Aaron Tindall
Aaron Tindall

On September 20, the public will be able to enjoy an evening “At the ballet”. Renowned Frost tuba teacher and Sarasota Orchestra lead tuba player Aaron Tindall will light up the stage with two of the most celebrated ballet masterpieces of all time, including “Romeo and Juliet” and “Cinderella” .

“Tindal is one of the world’s greatest tuba virtuosos and will perform ballet music that has been rearranged for tuba and piano. It will be very unique and spectacular, ”noted Berg.

The last concert of the month will be on September 24 when the Frost Studio Jazz Band celebrates “The Musical Legacy of Melton Mustafa,” a mainstay of the South Florida music community. Grammy-nominated Melton Mustafa Jr. and his uncle, South Florida Jazz Hall of Famer Jesse Jones Jr., will join Frost director Etienne Charles in celebrating the life of Melton Mustafa Sr. through music.

Melton Mustafa Jr.
Melton Mustafa Jr.

“Melton Mustafa was a legendary jazz trumpeter and jazz educator for decades in South Florida. Mustafa Sr. performed with Count Basie, Duke Ellington and Woody Herman, ”Berg explained. “He was so important in teaching a lot of students of color who pursued professional careers because of his influence. This concert is going to be a very exciting evening but also very meaningful for our school and for our artists. “

Visit for more information and to buy tickets.

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Elektrohorse pleads for unity through country music | Characteristics Thu, 09 Sep 2021 10:00:00 +0000

In an age where issues of diversity and inclusion are discussed more than ever before, the songwriter, DJ, singer and producer known as Elektrohorse crosses idiomatic boundaries. While the South Side of Chicago was his original stomping ground, in recent years he has become a prolific contributor to the Nashville country scene. His captivating singles and delightful videos – featuring him in his luminous Deadmau5-style mascot horse head, without which he never appears in public – have become fan favorites on a variety of online and live platforms.

Elektrohorse’s experience (which includes work long before he donned the horse’s head) includes collaborations with renowned artists such as, Cowboy Troy and Timbaland, but he is now making breakthroughs by itself. He is the primary practitioner of a hybrid sound which he calls CDM – country dance music. The style harmoniously merges country instrumentation with funk, hip-hop and electronic dance beats – a combination that has fueled traditional country hits for years. It is high level entertainment, the main purpose of which seems to be pure pleasure. Yet despite the fun and frolics of his songs and videos, Elektrohorse has a serious side.

“I really see music as a way to bring people together, to be a source of unity,” Elektrohorse told the Scene. “When I came to Nashville, I found the right atmosphere of cooperation and musical interest, and it turned out to be the right choice.”

He cites as one of his main goals his desire to become the first black DJ known to warm up crowds at country music festivals and awards shows. And there’s no reason he couldn’t dominate there: His material features somewhat edgy vocal and visual flair, humorous storylines, and a wacky, unpredictable quality. His work is also ideal for platforms like TikTok, as it encourages audiences to participate and give their own touch to the debates.


He also has a knack for making even serious discussions fun. His single “STOMP,” which is an acronym for “Start Teaching Others More Positivity,” is a catchy tune that calls for racial justice and social change. It is squarely focused on inclusion and bringing people together. The track includes elements of string orchestral music and electronic dance music in such a way that you can’t tell where one influence ends and the other begins – helping to trace the strands of black creativity that are essential to country music as well as many others. traditions. Elektrohorse worked on the track with Chicago soul singer Floyd Holloway, son of great disco-era singer Loleatta Holloway, as well as Nashville country singer Greg Pratt and South Carolina rapper Terell Skreetzz. Later, Kristyn Regen of New York’s Line ‘Em Up line dance team choreographed the Elektro Stomp, a line dance adapted to the song.

2021 has been a busy year, during which Elektrohorse released a series of dynamic singles. In February, there was “Suga ‘n Spice” with country singer and filmmaker Duke Hanson. In the play, the couple have a stomachache in a puzzled way about conflicts with their loved ones, reminiscent of Conway and Loretta’s classic “You Are The Reason Our Kids Are Ugly.” This was followed in July by “Ride Like a Horse,” an inspired mix of folk presentation, club-ready beats and swashbuckling humor similar to what propelled Lil Nas X’s “Old Town Road” and “ The Git Up ”by Blanco Brown in the stratosphere. .


Unique art: Elektrohorse and Big Mucci, ‘It’s a Ho Down’

Elektrohorse’s latest single is equally enjoyable and has even more potential to bring it viral success. “It’s a Ho Down,” released in August, is a collaboration with Big Mucci, a rapper and dancer from Cleveland, Ohio. In the 1990s, Mucci’s late 71 North team started an enduring regional line dance craze called The Cleveland Shuffle. It should be noted that while line dancing is extremely popular on the country scene, its roots lie in disco and other predominantly urban styles of music.

In the video for the song, Elektrohorse and Big Mucci visit a farm on a lazy afternoon. Big Mucci calls out the dance moves that Elektrohorse, decked out in her airbrushed overalls, demonstrates. And before you know it, everyone is dancing – a proper demonstration of Elektrohorse ethics.

The year in music 2020: the year in country

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Aberdeen Jazz Festival returns with 18 live concerts across the city Sun, 05 Sep 2021 15:01:00 +0000

Niki king

The Aberdeen Jazz Festival this year hosted a hugely successful online event in its traditional March niche, exceeding all public expectations, but the organizers were keen to bring the live music back to the city.

As soon as the restrictions were lifted, the Festival featured saxophonist, Tommy Smith, in an extraordinary solo concert at St Machar’s Cathedral, and now the popular Festival is back for a 10-day event that runs from September 30 to October 10 and packed with big names in jazz performing at The Blue Lamp, Queen’s Cross Church, Spin, Cuba Revolution, Lemon Tree and Aberdeen Art Gallery.

And for all of the festival’s new online admirers, there is an online festival running from October 15-22.

18 live concerts over ten days will cover all styles of jazz, from swing to big band; gypsy jazz to funky / soul; from folk-jazz crossovers to late-night discos; chic jazz vocals at Latin jazz nights. Throughout all of the concerts there is a special sense of celebration among the musicians – everyone involved is very excited to play a festival in front of a live audience again.

The Aberdeen Jazz Festival is delighted to welcome international musicians again and the festival opens with one of the great European groups in today’s jazz world: pianist Espen Eriksen brings his Trio to the Blue Lamp .

This will be the first of eleven shows at the iconic Aberdeen Jazz Club.

And perhaps the most poignant moment will come when it opens Friday at the Blue Lamp, when the Festival pays homage to one of Aberdon’s greatest jazz musicians, Bill Kemp, who passed away in April.

Bill was a mainstay of almost every major Aberdeen jazz band from the 1960s to the 2020s, and a drummer who performed regularly with many national and international stars.

Marisha Addison, who has performed with Bill for over 40 years, will present We Love You Bill where old and young fellow musicians will perform together in different formats, with Bill’s great friend, Fabrizio Conte, star pupil, Richard Glassby; and the main British drummer, Alyn Cosker, taking the seat of the maestro.

Fergus mccreadie
Fergus mccreadie

Other musical highlights will be a new all-female group led by singer, violinist and host Seonaid Aitken, with five string players and saxophonist Helena Kay; Glasgow’s leading soul-funk-nu jazz band, Corto Alto; the brilliant Greek singer, Irini Arabatzi in duet with the piano prodigy, Fergus McCreadie; a Festival premiere for the astonishing piano-bass-drums Trio Nadurra; a Lemon Tree evening with the irrepressible Tom McGuire & The Brassholes; a special celebration of Big Band drummers with Aberdeen Jazz Orchestra and Alyn Cosker; a new group led by double tenor saxophones and featuring two of Scotland’s most prominent young musicians, Matthew Kilner and Matt Carmichael; the contagious grooves of Funk Connection; and the moving and sensual voice of Niki King with her new project, Time.

Neil Gibbons, Festival Director, Aberdeen Jazz Festival, said: “In the face of the lockdown, we started the Aberdeen Jazz Festival 2021 in March with a series of digital concerts that have proven to be very popular.

“What a pleasure to be back to end the festival with a program of local and international music that we know the audience will love.

“The spirit of the Aberdeen Jazz Festival is very much alive and we look forward to starting over and welcoming audiences to our brilliant festival celebrating all that is great about live jazz.”

Ticket prices range from £ 5 to £ 15 and are available from

Eleven of the concerts will be taped for an online festival, where full shows will be available for a full week for a single £ 25 ticket, from

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Revue Jungle – the sound of the Great Reprise | Dance music Sat, 04 Sep 2021 13:00:00 +0000

IIf there ever was a time when people were clamoring for simple party music, it would be pretty much now. When the restrictions come to an end, comes the group: Jungle, two singer-producers from West London and their group of five backing multi-instrumentalists playing the first of four sold-out evenings in London; two more follow in Manchester before the group heads to the United States. They are tasked with throwing a sparkling and pleasant disco ball through a wide open goal.

Jungle’s third album, Magnet in stereo, arrived last month rocked by a cat in strings from the ’70s. Powered by the imperatives of the dancefloor, it was destined to be one of the main soundtracks of Great Resumption, the neo-disco album to listen to now that Dua Lipa’s could finally get old.

To further emphasize how this duo has sounded over time, Jungle’s song, Keep Moving, has been in heavy rotation as the soundtrack of a Peloton ad on YouTube for weeks (or it could just be my own sadistic algorithm. ). Like Celeste’s Stop This Flame, Jungle’s Keep Moving is a song that starts off sounding masterful but becomes mundane in ubiquity (Stop This Flame was Sky Sports’ Premier League introductory music last year).

Tonight, Jungle casts Keep Moving at the start of their set. The crowd screams their approval. Back in his natural habitat, that is, accompanied by the hot pressure of bodies, a clever architectural light show, and a lively percussionist rather than a harassing Peloton spin class autocrat, Keep Moving sounds great again. There is a lot of surface, but there is also depth. Beneath the cleanable falsets of Josh Lloyd-Watson and Tom McFarland, who sit behind keyboards in the front of the stage, beneath the barrage of disco signifiers and the maxim ready for song synchronization, lies useful wisdom, taken up again. by dance music. since time immemorial: moving your body can sometimes help you get out of any psychological rut you might be in. The audience keeps an appreciative shuffle all night long.

That’s a good result for Jungle, a once dark pair who managed to persuade Lightning to strike twice. So far, their biggest hit to date was the fantastically aptly named Busy Earnin ‘, which featured on their self-titled debut album of 2014. A second album, Forever (2018), did not capture the public imagination as much as their nominated debut for Mercury. In broad strokes, Forever lowered the BPM, making the soundtrack for the breakups that Lloyd-Watson and McFarland were going through at the time. There was also another rupture: they separated from their record company, XL, to go on their own.

Judging from the graphics performance, the market preferred Jungle to be up rather than down. The duo got the message, and so Magnet in stereo contains banger after banger, offset with just enough smart output to prick up non-aligned ears, and just enough contrapuntal shadow to keep blandness at bay. Heavily influential producer Inflo (Michael Kiwanuka, Sault, Little Simz) contributed to some of these tracks, and there is a certain common aesthetic here – not just soul and funk as fundamental sounds, but orchestral loops as well – that makes things interesting. . When Jungle plays more new songs, such as the animated Talk About It and No Rules earworms, there is no hesitation of the new album in the crowd.

For all the euphoric butt in this set, there’s a but to come. Much of Jungle’s music seems to have been put together by a group of Synchronization Agents (Synchronization Agents are the people who land the Peloton commercials tapes). Towards the end of the set, Can’t Stop the Stars sounds like the title music of a BBC One celebrity tea time TV show: horns like triangles of cheese, strings like molasses , light voices. To give Jungle credit, however, the Zen-like lyrics urge the listener not to try and control the things they can’t.

The very consistency of Jungle can become the same. They operate within strict parameters: twin male falsettos, singing to vintage 70s sounds mixed with the laid-back delia sample of the Avalanches. As pleasant as it is, disruption becomes imperative. When rapper Bas appears on a video screen behind the band to sing Romeo, another single from the new album reminiscent of Jungle’s debt to Gorillaz, the aural change of scenery is a godsend.

When the keyboardist pulls out a flute on Bonnie Hill, the sheer enjoyment is out of proportion to the brevity of the solo. (If the album is doing well, they should really have a string section for the next tour.) On the very rare occasion that Lloyd-Watson and McFarland sing in their low register, as they do on the favorite track from the second album Casio, the set is recovering. Given the setting – of a crowd eager to dance over the past 18 months – what happens when Jungle plays Cherry, a minimal song from their second album, is somewhat counterintuitive. “You’ll never change me,” sulks the song moodily, “I was already changing.” The room bursts with joy.

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]]> 0 This Raspberry Pi musical Cyberdeck performs at live concerts Tue, 31 Aug 2021 16:11:48 +0000

We are no strangers to Raspberry pie-based on cyberdecks. We’ve actually seen quite a bit of it over the years, but it’s hands down the grooviest we’ve ever come across. Maker and musician Benjamin Caccia has created a Pi-based cyberdeck that comes with a keyboard, but not the kind you’d normally expect.

This has a piano keyboard and a synthesizer that can be used for live musical performances. This use case is not just theoretical. Caccia uses the Raspberry Pi Music Cyberdeck with his band, Big Time Kill.