The “Project Sekai Anniversary Festa 2021” event announced on Sunday that the production of a mini anime adaptation of Sega‘s Sekai Project: Colorful Stage! feat. Hatsune Miku the rhythm game on smartphone has received the green light. The 10 planned episodes of Little Séka (Puchi Seka) will broadcast for free on Youtube.
The anime will feature the characters from the game in super-distorted Forms “2.5 heads high,” and the anime will have more of a gag comedy vibe than the game itself. Sunday’s event announced that all of the game’s musical units will appear in the anime.
The game is set in Sekai, a world that realizes people’s true feelings. There are many Sekai, and each one’s shape is based on different emotions. Virtual singers perform songs from creators in the real world. The singers change their appearance depending on the feelings of the owner and help the creators discover their true feelings. Untitled songs were born at the same time as Sekai, but they are silent with no melody or lyrics. When the owner finds out his true feelings, the feelings become a titled song.
The game is a collaboration between Sega, Crypton Future Media, and Colorful Palette, a subsidiary of handmade egg. It was launched in Japan in September 2020 and will launch worldwide this year.
Source: Project Sekai Anniversary Festa 2021 stage Day 2’s flux, Game watch Going through Yaraon!
Western swing isn’t easy to find these days, the real stuff anyway, and most of it falls heavily on the vintage western side rather than the jazz side, but Tom Hammel rises to the- above the genre. Crazy rhythm of steel is the most jazzy western swing album I’ve heard in a long time.
Played on a steel pedal guitar, “Si Tu Vois Ma Mere” becomes a lovely beach melody and “Tenderly” goes for the same lonely Hawaiian vibe. Several other tracks capture this thoughtful end of things, most notably the closest “Willow Weep For Me”. Other tracks are more upbeat, notably “Crazy Rhythm”, “Mission to Moscow” and “It’s All Your Fault” with a guest voice by Alex Pangman. “Out of Odessa”, a new title written for the album, has some truly remarkable playing moments and some mind-blowing moments.
You can play jazz and swing with any instrumentation, and it’s a jazz album, a small group improvisation, rather than the big band sound of Bob Wills. If the same notes as pedal steel guitar hits were played by a cornet, no one would hesitate to call it jazz. An accordion adds an extra layer to multiple tracks, another instrument with more jazz pedigree than most realize.
The musicians, recorded remotely from across Canada during the pandemic, all impress as they come together to create a sound with depth and layers, many of those layers being Hammel himself playing pedal guitar. , accordion, electric and acoustic guitars and ukulele. Paul Pigat joins on guitar for five of the twelve pieces, Jeremy Holmes is on double bass and James Badger is on drums. In the live version of the band, they add extra hands to play the accordion.
Whether your heart is focused solely on jazz or other roots music, you will find this set to be impressive and enjoyable. With a good balance of tempos and mood, and plenty for a musician to choose from and enjoy.
New research has cemented the nearly unmatched singing skills of birds, as it has discovered that cockatiels are able to spontaneously join human hissing with near-perfect synchronicity. Besides being more than adorable, research shows that these birds are truly masters of their singing voices, able to change pitch and rhythm to effectively riffle with an entirely different species.
Published in the journal PLOS ONE, the study tested three hand-raised cockatiels to see if these birds could sing “in unison” with a person whistling a melody, or at least synchronize their song in response. . Each of the three birds successfully learned to sing a walking sound as the researchers whistled a melody similar to the “Mickey Mouse Club Walk”.
This particular song is made up of two parts, each made up of 11 notes but separated by a pause. While all of the birds learned the song, only two of them spontaneously began to sing in unison with the whistle (as seen in the phenomenal recording below).
The next step used the help of a play loop, to see if changing the length of time between worms changed the pace with which the cockatiels sang. Effectively, the birds were able to adapt their song to stay in sync with the changes in pause length, pitch, and tempo, allowing them to follow what they surely thought was a banger, judging by their enthusiasm.
“I didn’t give the birds any treats to reward them for singing,” study author Yoshimasa Seki, from the psychology department at Aichi University in Japan, told Vice. “They were joining the melody for their own enjoyment and were very happy to do so.”
Seki believes the research is the first published example (to their knowledge) of a non-human animal singing to human music and synchronizing with its changing characteristics. Beyond being a great excuse to dive deep into singing cockatiel videos (some even sing opera), you might be wondering what the academic value of this information is, but Seki believes that learning Singing behavior in non-human animals could provide information on the historical uses of singing in humans.
“Singing was once a form of communication for humans,” they said. “At one point we started singing more for fun, but by studying these distant ancestors we can improve coordination and group work, even among us humans. “
Interestingly, a similar approach hopes to bring the science of translation closer to communicating with dolphins, but vice versa. The research is focused on the idea that whistled human tongues might share fundamental attributes with dolphin signals, so looking at the two side by side, we might one day crack the cetacean code.
The 2021 Grammy Awards, which took place in Los Angeles in March, was, like everything in the past year, an atypical production that only vaguely resembled its non-pandemic past.
That said, the show still managed to kick off with a double of performances from very Grammy-like artists – pop phenomena Harry Styles and Billie Eilish.
Also on the shared stage that night? The Black Pumas, who were up for three awards, including Album of the Year for the Deluxe Edition of their self-titled debut album in 2019, and who brought a bit of retro-soul flavor – and a much needed guitar-forward jam – to the stage with a dazzling performance of Colors (This song, by the way, won the group’s two additional nominations, for Recording of the Year and Best American Roots Performance).
Black Pumas, which is built around the duo of singer and guitarist Eric Burton and guitarist and producer Adrian Quesada, stood out from most of the other fare (with the exception of the pop-rock trio Haim) on the show this that night – just like their mates, a 1967 Fender Coronado for Burton and a new Fender Jaguar for Quesada that “sounded so cool with the fuzz pedal I was using,” he says. “And I tried it on with my wardrobe and it looked cool too. So, deal done.
However, they felt a kinship with their fellow musicians. “Everyone was definitely showing love,” Quesada continues. “Harry [Styles] actually came to tell us that he really liked our record. So it’s a great time to have artists supporting other artists.
Burton adds, “It was nice to play on the same stage as some of our peers who are doing really well and representing their genres with a lot of enthusiasm. ”
It should be noted that Black Pumas have also represented their own genre with great enthusiasm. “We make music from our hearts and luckily it resonates in the hearts of others as well,” says Burton. But how they got here is different from the route most groups take.
In a story that has now been told and retold (it’s a good story), Burton, who grew up in Southern California singing in church and involved in musical theater, and with minimal exposure to the secular music, cut her teeth at Santa Monica Pier, developing her singing and guitar playing – and playing performances – for the crumpled dollar bills of passers-by.
Eventually, he traveled the West Coast with musician friends before landing and staying in Austin, Texas. It was there that he met Quesada, who, 13 years his senior, had grown up in hip-hop and hair metal, spent time in a local punk-jazz band and spent more than a day. dozen years with the Grammy Award-winning Latin funk orchestra. ”Fantasma Group.
During those years, Quesada had the opportunity to play alongside Prince (“His lead guitar notes were, like, through the roof,” he recalls. “It was pretty intimidating”) and also participated in a Grupo side project, Brownout, which recorded a series of Black Sabbath covers as Brown Sabbath and performed them, at one point, for Ozzy Osbourne himself.
“We ended up being booked for festivals, and we did a private show for Ozzy and [his son] Jack. It all took on a life of its own.
In 2017, Quesada left Grupo Fantasma and was looking for a singer to add vocals to new instrumentals he was preparing in the studio. At the suggestion of a mutual friend, he called Burton, a virtual stranger in Austin – or anywhere else, for that matter. The couple turned out to be prophetic.
“Eric fits like a glove on these instrumental tracks,” recalls Quesada. “And then he started showing me his songs that were before we even knew it, it was like, ‘Oh shit, that fits perfectly with this sound that I’m making…’”
One of the songs Burton had in his pocket was Colors, which, says Quesada, “Eric wrote over 10 years ago. But it still touches that place in people’s hearts all these years later, on different levels.”
Indeed, Colors, with its puffy, almost hymnic melody and social-minded lyrics (“All My Favorite Colors / My Sisters and Brothers / See Them Like No Other,” Burton sings in a honeyed and emotional voice) has, like most of the material on Black Pumas, led the band to be tagged with a retro-soul label.
One day we’re gonna really geek out on an old soul song, and the next day we’re gonna geek out on a Mobb Deep track.
But there is more to it. “We never really decided to make retro music,” says Quesada. And while he admits that he and Burton “probably listen to older music more than we listen to newer music,” he also says their sound “sits somewhere in between. One day we’re really going to have fun playing an old soul song, and the next day we’re going to have fun playing a Mobb Deep track. And then the next day, we switch to rock’n’roll. It’s everywhere. ”
From the point of view of the guitar, Burton and Quesada define themselves as “rhythms at heart”. Although it is Quesada who handles most of the main work and the one-note melodic lines.
“I love solo guitar and I love solos,” says Quesada, “and I’ve been playing for so long that there’s a certain amount of muscle memory that persists. But, he adds, “and I’d scream that from the rooftops, Eric is a dumb guitarist, man.” There’s stuff on the record that people assumed was me on guitar, but I’m like, ‘No way, these are Eric Burton’s hands.’ I like people who play in interesting and unique ways, and Eric is one of those guys.
Regarding his approach, Burton says, “When I started playing guitar it was like a troubadour style on my own, where I hit the guitar to show percussion, play bass notes, do major minor tones in rhythms. So with my unorthodox guitar playing coupled with Adrian’s sensitivity, we have an interesting dance that we do together.
Burton and Quesada embark on this interesting dance in an effort to create the sequel to Black Pumas. But it’s still unclear when the new material will be released, or what it will look like.
“We have over 20 ideas that are in various stages of completion,” Burton said. “Some who started on acoustic, some who started on electric, some who started on the keys. We respect each other musically, so we have the opportunity to follow each other in places we don’t know, so to speak, soul being a bit of a beacon.
Quesada agrees. “I don’t remember a time when Eric showed me a song and I was like, ‘Oh man, I can’t hear it …’ My wheels always start to spin immediately – ‘I could do it. “I could do that. ‘ There is a synergy between us, and it has been like that from the start.
Chris Conley couldn’t garner a single compliment for the Texans rookie class. He had to be honest in his recognition report.
Where the rookies fell short in the veteran wide receiver’s estimate: Their glaring lack of melody in a “Happy Birthday” song for Texans coach David Culley, who celebrated his 66th birthday on Friday.
“There isn’t a good singer in our rookie squad,” Conley said. “It’s actually surprising. Typically in a draft class there’s one person who’s got talent. It’s a first for me.
“Who is the worst? Almost all of them. They are bad enough. They are actually really terrible.
Conley noted that the rookies were not improving despite several attempts to harmonize. It is just plain bad.
“I mean at this point we’ve heard them sing a bunch of times,” Conley said. “That’s why we keep blackmailing them.”
Traditionally, recruits are good at this stuff.
“For some reason this year they all wanted to sing and they were all terrible,” Conley said. “But in the past we’ve had guys that went out there and do comedy sketches, we’ve had guys that went out there and dance, sing. And they were actually legitimately good at it. they were doing. This year I’m glad they’re good at football.
Aaron Wilson has covered the NFL for 20 years and has previously written for The Houston Chronicle and The Baltimore Sun. He’s on Twitter: @AaronWilson_NFL and Instagram: @ aaronwilson7128
“Pink glasses; I prefer this lens. Makes the world a better place than it was then … “
The opening lyrics to the title track from Teresa James & The Rhythm Tramps’ new album, Pink glasses, Vothe. 1, released today via Blue Heart Discs, captures the spirit of love, perseverance, strength and joy that pervades the Los Angeles-based band’s 12th album.
She prefers this goal.
Singer and keyboardist Teresa James and her husband, producer and bassist Terry Wilson share many reasons for their optimistic outlook. After many years on the international music scene, recording and touring with artists including Eric Burdon, Levon Helm, Delbert McClinton, Randy Newman, and more, their 2019 album, Here in Babylon, received a GRAMMY nomination in the Contemporary Blues Album category.
A family matter.
Born and raised in Houston, Texas, Teresa grew up around music, studying classical piano and learning guitar from her father. From her first performance at age eight with her father, she knew she wanted music in her life. It’s no surprise that she later discovers a music and life partner in Terry Wilson. A prolific songwriter and producer, Terry provided much of the soundtrack to Teresa’s passionate and soul-infused vocal performances, in addition to her writing and production work for other artists. Their daughter, Lucy, is married to Richard Millsap, the band’s drummer based in Austin, Texas. Band of pagans. In 2017, their son, Jesse, joined the Heathens on bass and vocals. Soon after, Jesse introduced Terry to the talented Nicki bluhm, who co-wrote “Rose Colored Glasses” with Terry and sings the backing vocals on the track. “I had started a ghost trail and sent it to Nicki,” said Terry. “She made some suggestions for the lyrics and the melody and she absolutely succeeded.”
Musical family.
Teresa and Terry saw a once-in-a-lifetime opportunity during the pandemic as all of their touring musician friends were anchored to invite a coterie of great musicians as guests to the slopes. Featured artists include Kevin McKendree and Yates McKendree; plus Anson Funderburgh, David Millsap, Dean Parks, Lee Roy Parnell, James Pennebaker, Johnny Lee Schell and Snuffy Walden, all from Texas. They ended up with a veritable treasure trove of new music, so much so that there will finally be two volumes of the album. The first volume was mixed and mastered by double Grammy nominee John Porter. “The main thing for me is that I really love singing more than anything in the world. This is my passion. This is my therapy ”, says Therese. Her feelings shine throughout this live performance of “Rose Colored Glasses”, recorded at Hall 41 in Burbank, California.
Mozart’s piano sonata, called D major K448, has cognitive benefits and even reduces seizures in people with epilepsy. Scientists may have finally figured out the reason for its well-known therapeutic effect.
The mystery of K448 lies in its ability to spark anticipation. Longer piano phrases fuel a desire to listen more, which peaks as expected, “creating a positive emotional response,” according to a new study published in Scientific Reports on Thursday, according to a new study published in Scientific reports Thursday.
The medical utility of Mozart’s composition came to be understood as the “Mozart effect”. That is, listening to Mozart’s music may temporarily increase spatial reasoning skills (such as puzzles or that particular section of IQ tests regarding visualization of objects) and have positive effects on people. people with epilepsy. So far only one other piece of music (Mozart’s Piano Sonata in C major) is known to have a similar therapeutic effect.
Epilepsy causes repeated seizures, ranging from mild to severe. There are 10 million people with epilepsy in India alone, according to the data. The treatment gap is twofold: Many people do not receive proper treatment, but around a third of people with epilepsy are considered drug resistant. Finding non-invasive treatments that do not rely on drugs is therefore crucial for treatment.
There is a complex relationship between music and epilepsy. When a person has a seizure, a neuronal discharge in the form of interictal epileptiform discharges (IEDs) is released. Think of these IEDs as biological markers of the frequency of seizures and cognitive impairment. Therefore, previous research on the effect of K448 has focused on studying the release of IED in patients; the first discovery dates back to 1993, when researchers found that 10 minutes of listening to Mozart did more for patients with epilepsy than listening to relaxing words designed to lower blood pressure.
In the current study, the researchers looked at a small group of patients with epilepsy. They found that IEDs decreased after 30 seconds of listening to K448; the most significant effect was recorded in the part of the brain associated with the identification of emotions.
Explaining the reasons why Mozart’s melodies can help research other avenues of non-invasive treatment. “Our ultimate dream is to define an ‘anti-epileptic musical genre and to use music to improve the lives of people with epilepsy,” wrote Robert Quon of Dartmouth College, co-author of the study.
Related to The Swaddle:
Happier Times music dominates lockdown playlists
Another research earlier this year found that 84% of patients experienced a reduction in IEDs while listening to Mozart. “An increased number of [IEDs] are correlated with memory loss or reduced cognitive performance, and even an increased frequency of seizures. Therapies that maybe can reduce these spikes could have proven benefits for patients with epilepsy, ”Quon told Stat News, explaining how models exposed because of music could be researched. more in-depth.
Interestingly, the patients in the present study showed no change in brain activity when exposed to other pieces of music. Let’s say that listening for 90 seconds to the German composer Richard Wagner had no calming effect. Mozart’s music also scored much higher in its anti-epileptic effect compared to composers such as Bach, Beethoven, Chopin and Liszt, all champions of classical music. In one case, listening to the music of Joseph Haydn resulted in an increase in IEDs.
With this current study, the researchers extrapolate what makes K448 effective. The piano sonata creates a recognizable melody of higher repetition, “organized by contrasting melodic themes, each with its own underlying harmony”. The familiar structure of the song proved to be calming.
The Mozart effect is only one component of the role of music therapy in the treatment of mental disorders, mood disorders and depressive symptoms. Musical interventions have so far linked positive results for people with multiple sclerosis, motor neuron disease, Parkinson’s disease, and acquired brain dysfunctions.
History has shown the ability of music to entertain and heal. The revival of the Mozart effect could be the start.
Following last year’s pseudo-live event, the 2021 MTV Video Music Awards returned to their pre-pandemic format with a lot of sizzle and glam.
With artists like Ed Sheeran, Justin Bieber, Alicia Keys, Olivia Rodrigo, Lil Nas X headlining, we’ve just witnessed a night (or early morning on this side of the globe) of harmony, great scenes and fireworks.
Here is an overview.
First of all, here are the big winners of the evening
Lil Nas X won first prize, the video of the year award, for Montero (Call me by your name).
Bieber was crowned Artist of the Year.
Newcomer Olivia Rodrigo has won several victories: Song of the Year (Driving license), Best New Artist, PUSH Performance of the Year (May 2021).
Speaking of multiple awards, BTS took home Best K-pop, Band of the Year, and Song of the Summer awards.
Megan Fox turned her eyes with a sheer sheer dress
While Machine Gun Kelly put on an incredible performance and won the Best Alternative award, it was her partner / actress Megan Fox who became the talking point for the evening.
Wearing a transparent dress, the Transformers the actress owned the Jimmy Choo pumps and Lorraine Schwartz jewelry.
MGK rocked a red metallic suit and momentarily appeared to be fighting with MMA fighter Conor McGregor!
Wild night!
Fox burns the VMAs! (why click on the photos inside the toilets but?)
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‘Peaches’ singer voiced ‘Stay’, ‘Ghost’ on stage
Coming to the performances there was a lot of bling, as the live audience (dressed in face masks) were back at the Barclays Center in Brooklyn, New York, where the VMAs were being held.
Bieber, who recently broke an all-time record of monthly Spotify listeners, performed his hit song To stay with Le Kid LAROI.
Then he also sang his new single, Ghost.
Busta Rhymes, Alicia Keys were the legends performing tonight
Sheeran gave a serene rendition of his latest track Thrill from Pier 3 at Brooklyn Bridge Park.
Accompanied by a group and additional singers, the English crooner was welcomed on stage after his last VMA stint in 2017.
Busta Rhymes lit up the stage with her devastating rap medley, while Alicia Keys reached the top with her sublime piano performance of State of mind of the empire.
That’s why Lady Gaga skipped the 2021 event
Lady Gaga had won several VMA accolades last year, including the Tricon and Artist of the Year awards.
However, the Shallow the singer was markedly absent from this year’s event, raising eyebrows.
A simple reason could be that she wasn’t nominated for any of the Big Guns this time around.
his track 911 had won two nods, but for best photography and art direction.
(The Magazine Plus Editorial): – Tampa, Florida September 8, 2021 (Issuewire.com) – Hailing from Detroit via Tampa, Florida, Harmony Devoe’s compilation of melodies, metaphorical puns and poetic lyricism announced it as one of the East Coast’s biggest rising R&B stars. Her latest single, “When U Fall Outta Luv”, shows precisely why she is lyricism in motion.
Released on all digital platforms on 9/10/2021, with pre-orders through iTunes on 8/21/2021, this track was produced by JetBlakBrown and features an appearance by JaKeith. The ballad itself is about the real, raw situations that occur in the home, focusing on the torturous emotional fallout of a broken relationship, while also putting up with it during the most devastating pandemic of our generation.
Safer Plus magazine:
As Harmony’s usual captivating vocal performances and intricate songwriting shine through, JaKeith delivers her soft voice that blows up the walls of every note, bringing a masculine perspective to the storyline, to create a stunning duet performance that s’ flows perfectly throughout.
For media inquiries, including interviews and anything press related, please send an email [email protected]. Also visit www.harmonydevoe.com for all things Harmony Devoe.
LA based producer Kyle walker returns to London imprint Another rhythmwith his contagious and groovy new single “Midnight Dancer”, a powerful blend of tech-house punch and moving musical detail. Built on the foundations of a call and response with a trumpet melody and djembe groove, this is an emphatic piece of tech-house built for the return of clubs and festivals.
A personality of hard work, determination and undeniable production talent helped Walker have an instant strong impact on the tech-house scene since its first appearance. Its sound palette extends from the deep and melodic side to the more gravelly side and focused on the clubs of the electronic spectrum. Therefore, Walker has graced some of the genre’s biggest labels, including Repopulate Mars, Club Sweat and Swim or swim. He has also walked the stages of the biggest American festivals including EDC Las Vegas, Nocturnal Wonderland, Beyond Wonderland, North Coast Music Festival and more.
His emphatic tech-house anthems also received regular support from Lee Foss, Gorgon City, Claptone And much more. “Midnight Dancer” directly follows his latest Repopulate Mars release, the EP Zilla, an assortment of 3 driving tracks that further illustrates Kyle Walker’s production skills.
Stay tuned to the social media below so you don’t miss out on anything from Kyle Walker.
