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NelsonG

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  1. KSHMR has been entertaining dance music fans for the past decade. He’s made massive festival anthems like “Secrets,” “Megalodon” and “Karate”, he’s cultivated a conscious identity and sound based on his Indian heritage and he’s also a producer extraordinaire. While KSHMR, whose real name is Niles Hollowell-Dhar, continued to put out some dance tunes in 2023, his main accomplishment last year was his Indian hip-hop album KARAM. Now, after a brief foray outside of dance music, KSHMR enters 2024 ready to dominate the EDM landscape. Not only did KSHMR just release his first single of the year “All Night” with gritney, KSHMR also just launched his new bi-weekly Dharma Radio show as well as embarking on a North American club tour. We got the chance to chat with KSHMR ahead of his Los Angeles takeover March 8 & 9. Niles is truly one of the most thoughtful individuals in the dance music world and we had the pleasure of speaking with him about a number of topics. We discussed adapting to the current musical landscape, his musical rejuvenation after KARAM, the production of his latest single “All Night” and reflecting on 10 years of KSHMR. He even gave us a production deep dive on how to make tracks sound better in a live setting. Hey Niles! Thanks for the chat, it’s always a pleasure. Tell us what has KSHMR been up to lately and how have you adapted to the ever changing musical landscape? “Yeah, that’s been a tricky one, figuring out how I fit into it. There’s a lot of music out there that I like, that I really respect and admire. But, then I think about me doing it and it feels a bit forced. So, I’ve been trying to find that line of incorporating new sounds that I do enjoy and what my take on it is. And, I was in a bit of a rut with it for a while, but in the last four or five months I found some songs that sort of reignited that passion again. It was nice making that hip-hop album in India that I made, because it got my head out of dance music completely. So coming back to dance music, it felt fresh again, inspired. The newest song, ‘All Night’, when I look at the scene, I really love the faster stuff. When stuff started getting slower, or just groovy, not that there’s anything wrong with that. I was like, I don’t know, I don’t want to make drops that are just groovy with the bassline like a lot of house stuff. But, the Psy energy really appeals to me. That Eli Brown track, ‘Be the One’, I’m actually friends with the girl who wrote it. And it was interesting because throughout that process, she was like, how should I handle this? Because Eli had used a sample of hers to make that track, ‘Be the One’. And she was like is anyone going to know it’s me or how can I use this to get people to know I’m the singer on it, you might be interested in me too. I told her, you should just shout it from the mountain tops, let everyone know who’s listening. ‘Hey, if you like that song, just so you know, it’s me singing.’ Be annoying about it, it’s fine. But, another thing you could do, is do a song sort of in that style, except this time you’ll be featured on it and everything. So, I actually made this beat, just for her to do that. Just kind of for Sarah, to have her song so she could ride the wave of the Eli Brown thing a little bit and have her own song to show for it. Then as it developed we were like, ah, maybe we’ll just make it a collaboration, make it like KSHMR and Sarah; on the track she goes by gritney, but her name is Sarah de Warren. So yeah, part of me was like it’s kind of like the Eli Brown track, but I liked it so much, I was like, eh, it’s cool. I won’t mince words about the fact that it’s definitely inspired by that, and I wanted to do a track for Sarah that had that feel. So yeah, I’m really happy with that one, I’ve been playing it live. There’s another track coming, it’s called ‘Happy’, it’s just a really beautiful song. It’s another one, I was like this is really beautiful, but how do I make this something I want to play live and something that fits in the world of KSHMR. Oftentimes, that’s just a process of the production; I remember Secrets even, I had the vocal and the chords, but then the production and what the style was going to be, it was probably about eight months before really cracking it. So, Happy was another one, it didn’t take as long, but just knowing it was a beautiful song and just finding the right style to make it make sense for the show, and I think the version that we land on is something really special. So, that’ll be the next single. And, this will be really interesting for all you music nerds out there; it’s in Phrygian. So there’s this really beautiful concept in music called plagal cadence, where if say you’re in C major, the sound of the F chord is supposed to be major, but then you could make it minor and then you resolve back to C. It has a very instantly recognizable like, we’re going to sleep kind of sound. It’s one of the most beautiful sets of two chords you can put together in all of music, I would say. And it’s also special because it’s going out of key, so anytime something goes out of key and it works, my ears perk up, and I think most people who are interested in music are like, whoa, what’s the science of that? We’re all familiar with the seven chords that are afforded to us in a normal scale, but you can absolutely step out of those in interesting ways. And if you don’t know what you’re doing, it’ll sound bad. But, there are cases where it does work and it sounds good and it’s even more special because you broke the rules a little bit. So this is a song that’s in Phrygian, which is an interesting scale, it usually sounds like Middle Eastern to people, or it sounds maybe kind of like heavy metal, it’s quite moody. And this plagal cadence thing worked within that scale, it was a nice thing, that feel that you don’t often get to put in dance music because it borders on a little movie sounding, yeah, it’s just moody, overly emotional. But, in the case of this song, I think I was able to get it just right in the pocket of having that emotion but also working well as a dance song. I did that one with Tiina, who I also did “Do Bad Well” with, she’s a great singer. It’s very focused on her vocal the whole time, her vocal is like the drop, it’s the verse, it’s everything, it’s beautiful.” You’re currently on your North American club tour. How’s it been going so far and tell us what kind of preparation goes into your own headline tour as opposed to pulling up to a festival and playing an hour-long set? “You know, there was a time when I was getting prepared for a tour it was sort of incremental. Like I would take the songs and edits that I had that worked, I’d mostly keep them, maybe do a couple of new things. It was hard to justify spending a lot of time going back to songs like Secrets and doing a new edit or a new mix, when I was feeling a lot of pressure to make new music. So going back to these old songs and doing edits of them, it seemed frivolous. But, this tour, something changed, I was just sick of it. I was like, look I’ve been playing this fucking edit too much, I’m scrapping all this shit! I’m still playing the songs that people are familiar with, but I put a new edit, remix, mashup on just about everything. And what comes out of that is cool because I end up producing essentially remixes of old tracks. Sometimes the remixes end up being really cool and maybe I would even put those out, maybe when the tour is done or halfway through. There’s so many edits and remixes now, and it’s also been a big driver for me to take the little demos that I have, that aren’t quite ready yet and them ready enough to play live, because playing IDs, new tracks, that feedback that you get from the crowd instantly informs your decision making when it comes to the production of the track. So, yeah, these sets were supposed to be 75 minutes and I had to push it to 90 minutes because there’s so much new music. I used to say absolutely not, nothing over 75 minutes, now I’m asking them for more time. It just feels like I have so much music I want to play for people. It’s a great feeling, honestly, you feel revitalized, it’s nice.” Has that ever happened, or what’s the feeling like where you play something new for the first time and maybe it doesn’t get the reaction you were expecting? “Yeah, it’s horrific, you know. Yeah, it feels bad, to be fair, I think you have to take the average of a few different cities, how they’re reacting. Because for that crowd, at that time you played it, with that soundsystem, maybe something just didn’t click. So, that doesn’t mean abandon it, you go to the next city. But, if there’s something about the mix that you can tell, then you can fix it. Sometimes it’ll just kill my enthusiasm for a song altogether and that’s happened before too. One thing from a production perspective I’ve definitely noticed is things that sound good in the studio with a lot of bass, cannot translate if you haven’t left a little space. Having more space between a kick, meaning maybe your kick is a little shorter and the sub, creating that space, oftentimes for live works better. Like in the studio, where everything is perfectly treated, having the kick fill all those low frequencies and then the bass comes in right when the kick stops, seems like the right idea, you have this never-ending sub, that’s what you want. But, for live, there’s going to be so much bass, the bass is going to be accentuated, it’s going to be exaggerated, that making kind of cautious decisions, maybe a shorter kick, maybe the bass takes longer to sidechain in and things like that kind of compensate for the fact that there’s probably going to be an exaggerated representation of the bass when you go to play it live. But, in the case of playing it live, creating that separation, you can do it the right way, which is to open up the project and actually mix it differently. But, the other way that you could do, is just put LFO Tool on a track, make sure it’s only affecting the sub and you can just carve out a different shape for it. So if the kick and the sub are really fat and there’s no space between them that low end frequency is just going to look like a sausage kind of. So you use LFO Tool to essentially carve out a little dip in the kick to stop it and halfway through the beat you can lift the sub back in. And if you don’t want to go back into the project, you just want to get a rough idea of what a shorter kick and more space might sound like, you can do that! I’ve been doing that, and you can quickly get just a slightly different mix and see how that feels, and if that is a good idea, you can go back into your project and do a proper mix that way. But, as I’m playing things live, if I had the opportunity to go to a club before it opens, like I’ve done before, and have them let me play music through the speakers, that’s probably the main thing I would focus on. How long does this kick need to be to make it sound like it’s bangin’ and how loud does a sub really need to be. Because some great songs that sound really punchy, really big, like ‘Push Up’ by Creeds. Yeah, that track is really interesting, really loud kick, sub is not that loud, and sub has a big separation from the kick. So, when I saw how well that works live, it made me rethink what I thought I knew a lot about. Maybe a kick could be a lot louder, sometimes it doesn’t need to be that loud. And if I go and get to test things in a club, that’s mostly what I’m checking for. That’s a long-winded way of answering your question. How does it feel when something doesn’t work? It’s not only the problem, but I’m offering the solution, too.” Speaking of festivals, Ultra Miami is just around the corner. How does it feel to be back in Miami and what can fans expect on the main stage? Are you playing any other shows for Miami Music Week? “Yeah, it feels great to be coming back to Ultra. I think the last time I played I did the orchestral show, and I’ve done that twice now in Miami. This time just doing a normal DJ set on the main stage and I think it’s probably going to be like everything I’ve learned from on tour, what’s working and what’s not. All of the new music that I’ll be testing on tour, I’ll get it in a really good place to present it at Ultra Miami. That’s kind of my plan.” Will you be playing any other shows during Miami Music Week at all? “You know, there was talk about doing, but these shows would be at like 5 AM, and I also gotta think about me, my kind of show, and in Miami with that crowd, 5 AM, am I the right DJ? So, there were a couple of things that we discussed, but I ended up deciding it wasn’t the right thing. I wouldn’t want to hear a KSHMR set at 5 AM, I’m off my you know what. It’s not the vibe.” 2024 will mark 10 years of KSHMR, reflect on your musical journey for us. How have you grown and evolved as an artist over a decade? Do you have anything special planned to celebrate? “Yeah, that’s really wild, 10 years since my first show. I was putting out music for about a year before that, I was an anonymous thing and not playing any shows yet. Yeah, it’s been a wild journey. I think I came in with a really concise vision of being this dark, cinematic, mysterious guy. Back then I was riding the wave of songs like “Tsunami”, “Megalodon”, even all the way up until “Secrets”. Somewhere around there more of the Indian side came out with songs like “Jammu” and “Kashmir” and I really leaned into that. And, there’s been these different waves, Harmonica Andromeda album was again a wave, just going to different tempos and really taking the cinematic and organic stuff and taking it to its extreme of what if a song had three different twists in it. In a way, just an absolute showcase of what I was capable of production-wise. I had a lot of fun making that. Another wave was going to India and doing that, I think it’s been a lot of really great waves and that’s all you can hope for. I guess I’m really proud of the challenges and the way that the team and I have faced them and made something really fun and interesting out of them. Like, even the orchestral show, originally it was sort of a challenge because Ultra was going to give me either not-a-great set on the main stage, or they said why don’t you do the live stage, and that was kind of like, are they just throwing us on the live stage? But, then the wheels got turning on what that could mean and it led to one of my favorite shows to play now, the live orchestral shows. Another thing was how we’re going to present the show in general, then the Animated Story idea came about, then thinking it’ll be so cool if we translated that into the different languages of the countries I’m performing in. There’s just a lot of challenges that led to fun ideas that led to a lot of work, but it’s such a great feeling when your work seems to be for something that you believe in. You know, that feeling of you want to stay up all night, you want to stay up all weekend. I really love that feeling when there’s such a singular, clear purpose to your life. The KSHMR project has presented so many of those amazing experiences and challenges, so I’m really grateful for it. And, all the guys that helped me along the way, before my production skill was even really as good as the songs were. The reason the songs were good is because of how many great people collaborated with me. Bassjackers, R3HAB, Tiesto, 7 Skies, all of these guys. So, I’ve been really fortunate in that sense, and now I’m in this period of like, well, everybody into dance music kinda knows who I am and I’ll probably never be that hot, rising guy like I was, so now it’s almost a relief, there’s not the pressure to be that, you can just find new waves, do things that excite you and keep it rockin’.” What other music and touring do you have in store for 2024? “Yeah, there’s going to be Europe in the summer, that’s typically what I do, I spend a lot of time in Europe. I think probably more India is going to be coming around, India is always a big one for me, it feels like a homecoming. Yeah, you know, there’s always fucking shows. I’m just focused on what’s in front of me, which is the North American tour.” I always like to ask this in interviews. Do you have any current book or streaming recommendations? “It’s been a while since I had a book that I really loved. But, streaming recommendations, American Nightmare on Netflix, that is a wild story, that’s a really good one. For people who are fans of sci-fi, ‘Severance’ is a really good show. Sometimes this show gets boring, but altogether I do love it. It’s called ‘For All Mankind’, it’s like historical fiction, it’s kind of like in the High Castle, where it reimagines a critical event in history and then all of the events that emerged from that even being slightly different from the version that we’re familiar with. In this case, it’s Russia beating us to the moon. Not only do they beat us to the moon, but they put a woman on the moon, so this has a dramatic impact on the view of women in society and the amount of investment that the American government makes into NASA. So, by the 90s people are driving electric cars and there’s been all this investment in science. So it does a really beautiful job of sort of reimagining history in a way that’s not cheesy, it’s kind of subtle and it’s trippy to think how things could have been slightly different. I really took it too heart that we lost the moon race and so they just started plowing money into science which ends up having a lot of great consequences, you get a female president, a lot of cool, interesting things happen.” Anything else you want to say to all the fans out there? “Yeah, I just can’t wait for all of you guys to hear this new music, and if you come to the shows, you’ll hear it first.” Check out the latest from KSHMR & gritney “All Night” out now on Dharma. Get your tickets for one of KSHMR’s two upcoming Los Angeles shows here. Remaining tour dates below. March 1 – Harbour Event & Convention Centre – Vancouver, BC March 2 – Prysm – Chicago, IL March 8 – Academy – Los Angeles, CA March 9 – The Vermont – Los Angeles, CA March 15 – New City Gas – Montreal, QC March 16 – Harrah’s Pool After Dark – Atlantic City, NJ March 23 – Ultra Music Festival – Miami, FL March 29 – NOTO – Houston, TX March 30 – The Great Hall – Brooklyn, NY April 5 – The Church Nightclub – Denver, CO This article was first published on Your EDM. Source: KSHMR Talks New Single, North American Tour, Production Techniques and 10 Years of KSHMR [Interview] View the full article
  2. To protect copyright holders, YouTube regularly removes, disables, or demonetizes videos that contain allegedly infringing content. For years, little was known about the scope of these copyright claims, but that changed two years ago when the streaming platform published its first-ever transparency report. These reports, which were initially published as pdf files, showed that roughly 99% of all copyright claims on YouTube are handled through the Content ID system. Since many claims are automated, participation is restricted to a few thousand vetted rightsholders to limit abuse. YouTube’s Revamped Transparency Report The Content ID system remains dominant and the number of reported claims continues to rise. YouTube recently released the most recent data on a new dedicated website, which confirms many of the earlier trends. The latest data show that YouTube is edging closer to a billion copyright claims received every six months, with 980 million Content ID claims in the first half of 2023. These claims were sent by less than 9,000 rightsholder representatives and are good for more than 99% of all copyright actions on the video platform. Content ID Transparency The vast majority of claims were automated with just 0.4% submitted manually. This means that millions of daily copyright actions are handled without human review. More Claims, More Money These are large numbers, but they’re also presented without context. Only if we start to compare them with previous years does a clear pattern become visible. The 980 million number represents a 25% increase compared to the same period a year earlier, during which 757 million Content ID claims were processed. One might conclude that rightsholders are frustrated by the increasing level of infringement reported on YouTube. Some probably are, but the Content ID system comes with financial opportunities too. Rather than simply making unauthorized videos unavailable, rightsholders can choose to monetize them instead. With 90% of all Content ID claims now monetized, it’s far and away the most popular option among rightsholders. As it turns out, YouTube has found a rather effective way of monetizing copyright infringement. As of December 2022, the video platform had paid out over $9 billion to rightsholders after running ads alongside videos monetized by Content ID. Top-Heavy The numbers reported above only apply to the Content ID system. While that’s responsible for nearly all copyright actions on YouTube, those who are not part of the system must use other options. For example, non-qualifying rightsholders can use the publicly available webform, as 198,512 people did in the first half of last year. Together, these people flagged about five million problematic copyright issues. The Copyright Match tool, which is accessible to nearly three million YouTube channels, added another 2.7 million copyright actions. The breakdown of all YouTube copyright actions shows that Content ID claims are by far the most used. The above shows that a small number of rightsholder representatives are responsible for most YouTube copyright actions. In total, more than 310,000 rightsholders reported issues, but just 4,828 were part of the Content ID system. These 4,828 Content ID members triggered more than 99% of all activity, averaging more than 200,000 copyright actions per rightsholder. The remaining rightsholders reported an average of 37 copyright issues in the same period. YouTube’s transparency report lags behind a little, but it will be interesting to see if the number of claims in the second half of 2023 surpassed a billion. That data will likely follow later this year. From: TF, for the latest news on copyright battles, piracy and more. View the full article
  3. There’s no festival quite like Deep Tropics. Since their start, they’ve been pioneers in the festival landscape not just for delivering unforgettable music experiences, but for producing climate positive events year after year, earning the title to the Greenest Festival In North America. Take last year for instance, through their non-profit Deep Culture, they diverted 96% of festival waste from entering landfills. Their carbon footprint is offset through global and local tree-planting initiatives. 2024 partnerships include Ancient Nutrition’s R.A.N.C.H. Project, Trees for The Future, Tennessee Riverkeeper and the wonderful team at Bicentennial Capitol State Park. This year, they’re poised for their biggest edition yet as they revealed the name of each headliner starting Monday and completing today. House and bass music fans can rejoice, as this year is fronted by Kaskade, who will perform a coveted Redux set, RL Grime, Sofi Tukker, and Peekaboo. Additionally, Deep Tropics will host a Sustainability Summit on August 15th, curated by Deep Culture. The Summit is a convergence bringing together industry professionals, government officials and engaged citizens across diverse sectors to connect, inspire and showcase regenerative solutions. Furthermore, there will be a Deep Culture Amphitheater Experience to kick off the second day of the festival on August 17th, featuring a transformative set curated by DJ Drez. From breathwork and yoga to meditation and dance, attendees will embark on a journey of self-discovery and connection. “We are redefining the traditional festival model beyond entertainment. The long-term vision for Deep Tropics is to expand into a week-long conference that takes over Nashville. Think SXSW, ADE, Art Basel, Miami Music Week, but with a focus on regenerative design & wellness that is surrounded by amazing parties. The Sustainability Summit & expanded mindful activations at the festival itself serve as stepping stones toward that goal.” – Blake Atchison, co-founder of Deep Tropics) “Picture immersive workshops, thought provoking panels, and captivating talks on regenerative agriculture, sustainable fashion, renewable energy, & holistic wellness practices. Within our event festival-goers will discover activities dedicated to rejuvenation and self-care, offering yoga, meditation, sound healing, and holistic modalities designed to replenish mind, body, and soul. Deep Tropics is more than a festival—it builds a bridge between party and purpose. It’s a vibrant expression of community, connection, and a commitment to the health of our planet through an immersive celebration of dance music culture.” – Joel Atchison, co-founder of Deep Tropics Check out the full lineup below! This article was first published on Your EDM. Source: Deep Tropics Unveils 2024 Headliners Ft. Kaskade, RL Grime & More + Sustainability Summit View the full article
  4. There was a time when visiting a pirate site was much like visiting any other. Keen to attract eyeballs wherever they might be, many of the world’s biggest brands exchanged cold hard cash for an appearance on prominent pirate portals. Over time and as the thorny issue of funding illicit platforms gained traction, companies including Ford, Toyota, Nissan, Mazda and Volvo came under increasing pressure. The same held true for other household names, such as tech giant Samsung, along with Nokia, Canon, Carlsberg, even Coca Cola. These companies weren’t deliberately placing ads on pirate sites, but their ads kept turning up on them nonetheless. Goodbye Quality Brands As brand protection became increasingly important during the previous decade, companies such as White Bullet provided intelligence on which sites to avoid, with similar lists deployed to facilitate the work of the UK’s Infringing Website List, among others. In the United States, the formation of the Trustworthy Accountability Group (TAG) in 2015 saw advertisers and advertising agencies come together to clean up the system and prevent ad revenue from reaching pirate sites. TAG enjoys considerable support; Amazon, Disney, Google, Meta, NBC, Sky, and Spotify, among others, sit on TAG’s Leadership Council. Most were around in 2019 when TAG launched Project Brand Integrity, an initiative to prevent valuable brands’ advertising ending up next to potato-quality copies of Hollywood movies and other unauthorized content. Half a Decade Later, TAG Upgrades While TAG says that v1.0 has performed well, on Wednesday it announced Project Brand Integrity 2.0. More easily scalable than its predecessor, PBI 2.0 still aims to defund pirate sites and protect advertisers from undesirable associations. If all goes to plan, it will be quicker to react and more responsive to domain hopping too. “Project Brand Integrity 1.0 was incredibly effective but hard to scale, as it involved a time-consuming manual process of notifying advertisers when their ads were found on pirate sites,” says Mike Zaneis, CEO of TAG. “Although most advertisers took action when alerted to such misplacements, the money often had already changed hands, and the criminals quickly moved their efforts to new domains.” Excluded From Ads, Pirates Welcomed to Exclusion List Also receiving an upgrade is TAG’s database of pirate sites, which is shared within the industry to help advertisers avoid undesirable platforms. This ‘exclusion list’ is maintained and developed through intelligence sharing at TAG’s AdSec Threat Exchange, where members collaborate with participating companies, utilize open source resources, and share information on pirate domains. The resulting list aims to limit pirate sites’ access to advertisers, thereby reducing their ability to generate revenue from advertising. “Through PBI 2.0, TAG will leverage new partnerships with the industry’s major ad tech intermediaries to cut off funding from pirate websites through a comprehensive pre-bid exclusion list, thus preventing pirate sites from monetizing stolen intellectual property (IP),” TAG says. “By incorporating real-time intelligence on new pirate domains from TAG’s Ad Sec Threat Exchange and TAG member companies, PBI 2.0 will protect brands while preventing ad dollars from reaching those illegitimate sites.” Malvertising Everywhere In an interview with EMA last December, Michael Lyden, TAG’s Vice President of Threat Intelligence, spoke of the constant battle against malvertising, a portmanteau of ‘malware’ and ‘advertising.’ Scam ads, auto-redirections, cloaking, and drive-by downloads all received a mention. Not exclusively in connection with pirate sites, though, the problem is much broader than that. Given the nature of this pervasive adversary, TAG’s v2.0 exclusion list will also combine data originally collected by anti-malware vendors, with the intelligence providing an enhanced view of pirate sites that combine free downloads with malicious or deceptive ads. Once that information is placed in the hands of advertisers, it’s hoped that having two reasons not to fund pirate sites will be better than having just one. Proactively Eliminating Malvertising What kind of effect the project will have at the consumer end is unclear. One of the great ironies of the pirate site/malware debate is that by driving trusted advertisers away, anti-piracy groups not only removed revenue but also opened up the market for less inhibited advertising agencies to do more business with pirate sites. Lower ad rates made available to pirate sites with fewer opportunities elsewhere, can lead to an elevated chance of risky ads, on web-based portals in particular. Since TAG’s system will only make things worse and the rest of the internet isn’t getting any better, some sites may need to be tackled more directly. The good news is that plenty of solutions for disappearing bad ads, malvertising, endless trackers, and other stuff some sites just can’t get enough of, are readily available for free. Since they don’t discriminate, they’re just as happy removing all hot girls in your area to the 80 advertising partners imposed on visitors by too many mainstream sites. For those really averse to abusive advertising, moving away from ISP-provided DNS to Quad9’s threat-blocking alternative is a good start. For the more adventurous, a self-hosted DNS server like Pi-Hole, loaded with various hand-picked blocking lists, is something that few people think they need. At least until they see how even seemingly regular ads, not to mention things like smart TVs, can really abuse their trust. Finally, uBlock Origin on top is an essential for every browser, and if all goes to plan, malvertising will be a thing of the past. Then, working from a nice clean sheet, unblocking the sites worthy of support seems the way to go, while enjoying the internet all over again. From: TF, for the latest news on copyright battles, piracy and more. View the full article
  5. It’s not uncommon for people to wander into some corner of the overall emulation scene with a specific question: Are emulators legal? While not necessarily true, the most common answer is: yes, emulators are completely legal but distributing the games (ROMs) is most definitely not, so don’t request them here. In response to questions from those interested in the DIY approach, gamers are often advised to rip only the games they actually own, or only download games they intend to rip, for which they already own the original. The endless caveats that tend to go unmentioned are even more important. Nintendo knows them all but rarely strays from its fundamental position that, as far as its games and consoles are concerned, the process is illegal. Nintendo Targets Company Behind Switch Emulator, Yuzu Targeting developers who reverse-engineer and decompile code, to support an open source project, for which no money needs to be paid, is one way to view the lawsuit Nintendo filed this week. At the heart of the complaint is Switch emulator software Yuzu and Tropic Haze LLC, the United States company allegedly behind the project. Available on Windows, Linux, and Android, Yuzu claims to be the most popular open-source Switch emulator in the world. The software is completely free and readily available (caveats apply), but the games it plays are not part of the offer (see above). Instead, users of Yuzu need to obtain Nintendo games from elsewhere, in most cases those pre-ripped by others and placed online for download. In all cases, whether on physical cartridges or supplied as digital downloads, Switch games contain security measures designed to prevent copying or being run on unauthorized devices. Technological protection measures (TPM) are also present in the Switch console, which has layers of encryption to restrict access to vital cryptographic files known as ‘prod.keys’. Circumvention and Decryption Just as Yuzu distances itself from pirated copies of Nintendo’s games, Yuzu users must also independently obtain prod.keys, sourced from hacked Switch consoles and made available online. After these keys are fed into Yuzu, Nintendo claims that the emulator uses them to unlawfully circumvent its technological measures, decrypting Switch game files before and during runtime. This allows copies of Switch games to be played on Windows, Linux, and Android, contrary to Nintendo’s terms and conditions and in violation of the anti-circumvention provisions of the DMCA. “Only because Yuzu decrypts a Nintendo Switch game file dynamically during operation can the game be played in Yuzu. In other words, without Yuzu’s decryption of Nintendo’s encryption, unauthorized copies of games could not be played on PCs or Android devices,” the complaint reads. “With Yuzu in hand, nothing stops a user from obtaining and playing unlawful copies of virtually any game made for the Nintendo Switch, all without paying a dime to Nintendo or to any of the hundreds of other game developers and publishers making and selling games for the Nintendo Switch. In effect, Yuzu turns general computing devices into tools for massive intellectual property infringement of Nintendo and others’ copyrighted works.” Tropic Haze LLC and Yuzu Lead Dev, Bunnei Tropic Haze LLC is described as a Rhode Island company that develops and distributes Yuzu. Nintendo says the company uses a network of paid coders/developers who maintain the software and issue updates to improve the software’s ability to replicate the gameplay experience offered by Nintendo’s official products. These individuals are described as agents of Tropic Haze LLC and Nintendo holds the company liable for their conduct. That includes Bunnei, the alleged lead developer of Yuzu, whose conduct receives significant attention in the complaint. Nintendo’s Laundry List of Allegations Nintendo’s first mention of Bunnei includes a claim that the developer “publicly acknowledged most users pirate prod.keys and games online” while the Yuzu website offers instructions to users on how to “unlawfully hack their own Nintendo Switch and how to make unauthorized copies of Nintendo games and unlawfully obtain prod.keys.” While advice doesn’t amount to circumvention, Nintendo says it can show that Bunnei and other developers used Yuzu to decrypt and play Nintendo games. That required them to obtain prod.keys from a hacked console (circumvention violation under the DMCA), and make at least one unauthorized copy of a game (copyright infringement). Nintendo says that agents including Bunnei are “fully aware” of the use of Yuzu by others “in performing circumvention, and in facilitating piracy at a colossal scale.” Moreover, in addition to providing Yuzu and instructions to complete various tasks, the importance of decryption keys is acknowledged on the Yuzu website, along with links to various pieces of software designed to extract those keys. Nintendo claims that decisions regarding new Yuzu features, which platforms to launch on, and which games to provide compatibility with, are made by Bunnei. Nintendo also provides a quote; when acknowledging that the Yuzu Quickstart guide can be confusing, Bunnei allegedly said, “users probably just pirate a yuzu folder with everything.” The Quickstart guide itself also contains the following: “[t]o start playing commercial games, yuzu needs a couple of system files from a HACKABLE Nintendo Switch console in order to play them properly.” Zelda: TotK Leak Provided Patreon Earnings Boost The Legend of Zelda: Tears of the Kingdom was released by Nintendo on March 12, 2023, but was available to pirate online on May 1, 2023. Nintendo says 100% of the copies available were necessarily pirated copies and every user who obtained a copy did so without paying for the game. Over one million copies of the game were downloaded and Nintendo claims that over 20% of download links referenced playing the game on an emulator, Yuzu included. Meanwhile, Yuzu’s Patreon – where early builds of Yuzu are made available to members – had a sudden increase in membership. Nintendo claims this was a direct result of the leaked Zelda: TotK being played on Yuzu and Bunnei understood that, not least since Yuzu has a telemetry feature that relays the titles of games being played. “Indeed, Bunnei implemented a ban on discussing Zelda: TotK emulation in Yuzu’s Discord server because so many Yuzu users were trying to seek support emulating it,” Nintendo claims. Nintendo notes that 7,000 patrons now generate around $30,000 per month for those who develop Yuzu, with early versions accessible via Patreon generating an additional $50,000. Nintendo’s Claims Nintendo’s claims are comprehensive. Trafficking in circumvention technology in violation of 17 U.S.C. § 1201(a)(2)) is supported by allegations that the defendant and its agents are aware that Yuzu is designed, implemented and used to circumvent encryption, while they market Yuzu for the purpose of circumventing TPMs. A claim of trafficking in circumvention technology in violation of 17 U.S.C. § 1201(b)(1)), notes that Yuzu has “only limited commercially significant purpose or use” other than to circumvent protection measures. Circumvention of technological measures in violation of 17 U.S.C. § 1201(a)(1)) relates to Bunnei and other developers circumventing Nintendo’s protection measures themselves, while additional claims under the Copyright Act relate to Bunnei and the other developers dumping Nintendo games, copying them into Yuzu, and sending them to each other. A final count alleging contributory and inducement of infringement relate to secondary liability for Yuzu users’ alleged infringements. Overall, the complaint amounts to a comprehensive sweep against almost everything that the modern emulation scene relies on, without directly tearing out the beating heart of emulation itself. If successful, the truck loads of banana peels left behind could prove difficult for other projects to avoid, however. Nintendo seeks significant damages and an injunction to restrain Tropic Haze LLC from infringing its rights moving forward. That raises a slightly puzzling matter evident throughout the entire complaint. Nobody Positively Identified in the Complaint Despite Bunnei’s alleged importance, the only defendant listed in the complaint is Tropic Haze LLC and Nintendo provides almost no information about the company, including details of ownership or control, despite claiming that its sole business is to “develop and distribute unlawful circumvention software.” It necessarily follows that ‘Bunnei’ is not listed as a defendant, Doe or otherwise. In fact, the language used by Nintendo throughout the complaint suggests that it either has no idea of Bunnei’s true identity or may have gone to considerable lengths to give that impression. What lies behind this, if anything, is unclear, but there’s a strong possibility that sooner or later, pressure to settle will likely enter the equation. Right now, there are no real names in the complaint, but that could be changed in an instant, at least if any are currently known. Nintendo’s complaint can be found here (pdf) From: TF, for the latest news on copyright battles, piracy and more. View the full article
  6. When it comes to melodic house, few labels curate as well as David Hohme’s Where The Heart Is Records, whose free sample packs available exclusively through Magnetic Mag, have been a massive hit in the producer community. Additionally, they are always spotlighting new and rising talent whose music never ceases to amaze us. The latest offering is an EP titled ‘Deep Into The Blue’ from Night Breeze and Dias Ridge. The EP’s title track is driven by vocals and establishes a lush, forward-propelling momentum from the outset. This momentum is sustained through delicate counter melodies and warm percussion elements. However, the track maintains a tastefully minimalistic approach beyond these aspects, allowing for little distraction as it gradually builds and intertwines throughout the arrangement. The accompanying track “Descent” embraces the syncopated chord pluck sound, paired with an irresistible groove. The allure sustains from start to finish, giving off the feeling of pure bliss and contentment. There’s no doubt these two make an excellent team and we hope to hear more from them soon. In the meantime, listen below! This article was first published on Your EDM. Source: Night Breeze & Dias Ridge Collab For Enchanting EP ‘Deep Into The Blue’ via Where The Heart Is Records View the full article
  7. Emerging from the vibrant music scene of Austin, Vanglowe, a singer, songwriter, and producer, has crafted quite a remarkable sound. With a fresh perspective on infectious pop productions and a distinctive vocal style, Vanglowe has returned with yet another beautiful single, “Dance Around Me.” “Dance Around Me” is an enchanting and captivating melodic house track, demonstrating Vanglowe’s expertise in the genre. Featuring infectious rhythms, emotive melodies, and mesmerizing vocals, the track invites listeners into a sonic journey filled with euphoria and emotion. Listen below! This article was first published on Your EDM. Source: Vanglowe Drops Beautiful Melodic House Single “Dance Around Me” View the full article
  8. Zeo Guinle makes a triumphant return, collaborating with Warung Recordings to release his EP, “This Time,” featuring a remix by Dirty Doering. The international scene’s icons, including Acid Pauli, Adriatique, D-nox, and Robbie Akbal, have already shown their support for the EP. Before its official debut, “This Time” received significant attention through a premiere on Atlantida FM, one of the country’s largest radio stations, reaching millions of listeners. On the debut day, “This Time EP” earned recognition, securing a spot in the January Best New Melodic House Techno, Weekend Picks Melodic, and Best New Indie Dance charts on Beatport. Zeo Guinle, a resident DJ at London’s renowned D-Edge club, has an impressive track record with performances at Tomorrowland, Reading Festival, and Universo Paralello. Boasting millions of streams on digital platforms, Zeo Guinle presented “This Time” on January 26th through Warung Recordings, a label associated with the celebrated Warung Beach Club. The EP comprises two tracks: the original and a remix by Dirty Doering, the head of Berlin-based label Katermukke. The original track, spanning almost thirteen minutes, gradually builds a melodic progression, introducing existential questions within a dream-like atmosphere. Dirty Doering’s remix offers a digital and synthesized reinterpretation, maintaining the original’s character while adding a unique and impactful touch to the dance floor. Zeo Guinle’s international experience has significantly influenced his sound, marked by dynamism, groove, and energy. Having performed in London, Scotland, Manchester, and Bristol, Zeo Guinle is a prominent figure in the British electronic scene, with releases on labels such as Katermukke, Nuvour Records, Warung Recordings, Get Physical, and Great Stuff. Dirty Doering, also known as Velten Doering, is a catalyst for change, combining roles as a visionary entrepreneur and DJ. His remix of “This Time” showcases his ability to question and drive innovation, making a lasting impact on the electronic music landscape. In Zeo’s own words: My true love is to produce music for you, specially with such a great artist as the remixer. Dirty Doering is a true talent and Warung Recordings as our house was just perfect. Long life to Warung and big thanks to YourEDM for supporting!” – Zeo Guinle Listen to the discography of Zeo Guinle and Dirty Doering on Spotify and Soundcloud and for more information follow them on Instagram and Faceboook This article was first published on Your EDM. Source: This Time EP: Zeo Guinle’s Latest Release with Remix by Dirty Doering on Warung Recordings View the full article
  9. Three international powerhouses in the electronic music scene, Grammy-winning DJ and producer Damon Sharpe, Japanese Tech House sensation AXON, and LA based vocalist Tima Dee, have joined forces to release the highly anticipated Latin Tech House single, “Casa De Techa.” “Casa De Techa” finds its home on Drop Low Records, owned by the red-hot Mexican DJ, Andruss, who has exploded onto the scene with his hit “Freakitona.” adding an extra layer of excitement to its release. The track boasts percussive rhythms that pulse through the veins and horn stabs that command attention, showcasing the diverse influences shaping modern electronic music. Tima Dee’s catchy vocal sound bites breathe life into the track, making “Casa De Techa” an irresistible force on dance floors globally. Check it out below! Damon Sharpe Upcoming Tour Dates: March 8: Splash Down Festival | Miami, FL March 20: The Kickoff at Rácket Wynwood March 23: Daywalkers II at Greystone Rooftop | Phoenix, AZ April 6: Almost Famous This article was first published on Your EDM. Source: Damon Sharpe X AXON X Tima Dee Drop Latin Tech House Single, “Casa De Techa” View the full article
  10. Blak’d Out Records recently unveiled ‘DISRESPECT,’ a high-energy dubstep anthem featuring none other than Cam’ron from Dipset, the brainchild of the industry luminaries Bobby Blakdout, Hekler, and Gladez. In ‘DISRESPECT,’ you’re treated to an adrenaline-fueled sonic journey, characterized by pulsating basslines, electrifying drops, and infectious energy. With early previews drawing comparisons to iconic collaborations like Skrillex and Rick Ross’s “Purple Lamborghini,””DISRESPECT” truly lives up to the hype. Listen below! This article was first published on Your EDM. Source: Bobby Blakdout, Hekler & Gladez Call Upon Cam’ron For Explosive Dubstep Anthem ‘DISRESPECT’ View the full article
  11. Rohaan’s always had an air of mystique around him. Even back to his early days in the experimental trap and deep bass worlds, releasing on MAD ZOO and Deadbeats. His style has that indistinguishable quality that the likes of IMANU, Current Value and Amon Tobin have which certainly transcends genre, but also seems to transcend space and time. A powerful manifestor as well as a creator of some of the most interesting beats of the last seven years, it seems inevitable that he would eventually release on VISION. With his genreless take on deep bass, Rohaan’s first release with the Noisia boys was actually on their erstwhile “miscellaneous bass” label, Division. He made a funky, loud dubstep remix of Tek Genesis’s “Cloud Kingdom Theme” that seemed like a departure even from his own diverse style. But if we’ve come to expect anything from Rohaan, it’s the unexpected. His debut EP, Boy In A Dream, which came out earlier this month on VISION is certainly that. Containing everything from techy, clubby D&B that defies subgenre to ameny almost jungle to video game halftime to techno-infused bass house, fans shouldn’t be surprised if there were samples from an actual kitchen sink thrown in there just to make a point. Because of the diversity (even for Rohaan) of this EP, YEDM wanted to catch up with the UK-based artist to find out how the hell this extremely interesting piece of work came together. The takeaway? It’s a love letter to the club. Rohaan’s advice for making D&B? Don’t listen to D&B. Read on. Let’s start with the tagline VISION used in your promo: “2 years ago I wrote ‘Vision Recordings’ on a note and stuck it to my bedroom wall…and now here we are.” What does reaching this goal mean to you? So, I write four key goals on a note each year. These are usually written at a time where that goal is in my line of sight but very far away. So, to be here, EP made and released, it’s a wonderful career-affirming place to be. I have looked up to VISION since I was at school studying music, my best friends and peers all love the label, so it’s definitely a wonderful place to be knowing my sound fits the bill! Some fans might actually be surprised to learn that Boy In a Dream is your Vision debut EP, as your sound’s always seemed well-suited to the label, especially in recent years. Why do you think now is the right time or what do you think made this EP stand out to them? I’ve had multiple releases with them in the past, doing three remixes for the likes of Noisia, The Upbeats and Icicle, then a collab single with Tom Finster. This is my debut solo release with them. We actually started working on the idea of an EP back in September 2022, so it’s been a long process of many demos and many weeks of refining my sound to get here. Very excited to bring it to life. It seems clear on the EP that you didn’t necessarily have a specific label in mind; how did you go about putting it together, especially in terms of all the styles? In terms of this release, we had many conversations with VISION to refine the huge demo list and get them to the final 6 that you hear today. Some of these were just fun things I started, others were specifically made for VISION, so it varies. My style and sound are quite eclectic, so I wanted to showcase that in this EP. While a lot of fans think you hit the bigs somewhat suddenly with Shogun, prior to that, you released on some excellent cutting-edge imprints like Deadbeats, Mad Zoo and Unchained. How do you think your experience working with the more twisted beats labels shaped your style when it began to get more popular? With each release, I’m learning and evolving, both through external life experience and seeing the response to my music from fans’ point of view. My style has definitely evolved into two parts. Pop/more stream friendly, and club music. My recent single “Run Away” with Kelbin is a great example of the pop side. My Boy in a Dream EP is a great example of my club influences. It’s been amazing to see my name and my homies names gain so much traction the last few years. That we can actually host headline shows and make music for a living is wonderful thing. In terms of style, from do you feel you take the most influence? Did you really focus on curating your style in the beginning or was it more hit and miss? I have a Patreon page where I posted a video recently about “how to find your sound and create something original.” I talk about the importance of expanding your creative inputs and horizons and the career-shifting results that will have in the long run. I’m passionate about that for sure. All your previous EPs have been, despite the complexity and diversity of the sound, honed around a specific concept. Were you thinking concept EP for Boy In a Dream? If so, what was it? To be honest, this is more of a collection of club leaning-tunes. No deep story with this one. Each track is its own world, its own universe for people to explore. My Bleach EP was a true story-driven EP, but this one felt great to just give it all to the club scene. I have been on tour for the best part of a year and a half now, all over the world, so my input is mostly club music and energy leaning that way, hence the output of this EP. I’m a boy living his dream Each individual track seems to be its own mini theme or concept within the EP. How do you go about putting a vibe together for a track? What was your goal for some of your favorites on the EP? I really try to say one thing through a track and say it the best I can. So each track is a refined version of its demo self. Each track has a clear theme from start to finish and says it the best I could get it to say it with my current creative self. Each track serves a different purpose. Conceptualizing aside, do you think fans will be able to recognize the vein of your style that runs through all the tracks? It’s not something that I think about really. It’s all got the Rohaan name on it, it’s a more refined version of my sound and gives them a taste of it all. If they come to a show of mine they will see the full extent of my style come through What do you want listeners to take away from the EP as a whole? I want them to play it as loud as they possibly can and to as many people as possible. This EP is for the club and the house party, so enjoy! Anything else exciting on the horizon? What can fans expect next from you (aside from the unexpected)? Many a thing! I’m just about to finish my 4four-week North American Tour, and I have loads of singles already lined up for this year. I’m playing Tomorrowland, Lightning in a Bottle and some more huge festivals that I can’t say just yet. But what a journey so far! I’m so grateful and full of gratitude for every person that reaches out about my music. I just got gifted a watch in NYC! So I’m just taking it all in, really. Thank you for having me and be sure to come to one of my upcoming shows. They are special! Boy In a Dream is out now on VISION and can be streamed on Spotify or purchased on Beatport. This article was first published on Your EDM. Source: Your EDM Q&A: Rohaan, Like His New EP, Is Just a ‘Boy In a Dream’ [VISION] View the full article
  12. After performing “Redrum,” the Atlanta rapper brought Faiyaz and Walker to the New York stage for “Should’ve Wore a Bonnet” and “Prove It”View the full article
  13. In the summer of 2020, a little more than two years after being honored by the British government, the grime pioneer made a number of hateful remarks onlineView the full article
  14. scarlet veil is truly a visionary electronic duo, consisting of Brandi Overstreet and Jerrod Tyler. Together, they have developed a spellbinding allure since their start and today have released their new single “Strings”. With an entrancing introduction, “Strings” explodes into an uptempo, ethereal dance tune, captivating the senses from start to finish. This track serves as the third teaser from their upcoming album, Every Fantasy, which promises a captivating exploration of imagination and allure. “Strings” ventures beyond their established fantasy motifs to delve into themes ranging from science and science-fiction to personal aspirations and dreams. With “Strings,” scarlet veil invites listeners on a journey of discovery and exploration. Brandi sheds light on the track’s inspiration, stating, “‘Strings’ started out with the intention of creating a more upbeat track that brought some more energy. The lead synth reminded us of the X-Files and it was written around the time when all of the UFO excitement was playing out, during the congressional hearings, the tic tac video, and secret records speculation. The collective craziness of that time bled into what we were doing and loosely inspired the direction.” Listen below! This article was first published on Your EDM. Source: scarlet veil Releases Mesmerizing Wave Single “Strings” View the full article
  15. The second single from the pop singer’s Everything I Thought It WasView the full article
  16. Rich Delinquent has been making waves across the pop and electronic spectrum for some time now. He’s an elite artist, handling songwriting, vocals, and production on all of his songs as he’s carved out an impressive niche for his sound among his global fan base who he refers to as ‘Delinquents’. After releasing a string of singles such as “Chica Diablo” and “Speak Up“, Rich Delinquent revealed they were part of a larger EP that would feature two additional songs, ‘Here’s To Dystopia’, out today and may be his best work yet. The EP begins with its title track, which features Riley and delves into the haunting themes of societal disillusionment and the influence of the pharmaceutical industry on mental health. “Stop, society has let us down. Stop medicating until we drown. I will only sabotage myself… Here’s to dystopia, we’re in control of ya.” Rich Delinquent fearlessly calls out the issues plaguing society and the detrimental effects of overmedication. Concluding the EP is the infectious pop anthem “Where’s the Exit,” a joint effort with the emerging Australian band Lakelend. Exploring themes of longing, irresistible desires, and the precariousness of falling in love, the track is characterized by its captivating pop beat and moody melodies. Listen below! This article was first published on Your EDM. Source: Rich Delinquent Returns With Simmering Emotronic ‘Here’s To Dystopia’ EP View the full article
  17. The neo-soul group returns with its first new music since 2020View the full article
  18. The PC Music founder’s third LP arrives May 10 via his new record labelView the full article
  19. Stream new releases from MGMT, Erika de Casier, Hurray for the Riff Raff, Rafael Toral, Aya, Real Estate, Geotic, Laetitia Sadier, and Mary TimonyView the full article
  20. The SOS musician debuted the new track during the 2024 Grammys broadcastView the full article
  21. The intergalactic anime, originally released in 2003, streamed on Twitch to mark the third anniversary of the duo’s breakupView the full article
  22. The singer-songwriter begins the first leg of her Don’t Forget Me Tour in MayView the full article
  23. The rock band releases its Capitol Records debut, Can We Please Have Fun, in MayView the full article
  24. Press releases announcing the shutdown of yet another pirate site, more arrests, and what that means for the entertainment industry, are nothing out of the ordinary. In particularly busy periods, simply determining where one batch ends and another begins can present challenges. Yet in many cases, even the most straightforward reports have much more going on just below the surface. An announcement published Monday by the Alliance for Creativity and Entertainment is clear, quite detailed, but also conservative in respect of reporting events behind the scenes. The matter involves the oldest and most likely the largest torrent site in Thailand, a platform described by the most powerful rightsholders in the United States as a priority enforcement target for at least seven years. Yet only now, 18 years after the site first launched, have local authorities taken any visible action. If policy recently changed in Thailand, there’s no obvious indication of when that took place or what it might be. The official page to provide tips about illegal services on the police website still doesn’t work and known complications simmering in this particular case haven’t been mentioned either. ACE Outlines The Main Facts The key details, as reported by ACE on Monday, read as follows: The Royal Thai Police’s Economic Crimes Department (ECD), with support from the Alliance for Creativity and Entertainment (ACE), has raided four locations in Bangkok, Surin Province and Surat Thani. Four Thai nationals have been taken into custody and are expected to be formally charged with copyright offenses in the coming days. Siambit.me was the largest torrent tracker site in Thailand with average monthly visits of 5.5 million, and which provided access to a huge range of Hollywood, international and Thai content. The site had been in operation since 2005 and is known to regularly change its domain to avoid detection. According to statements by the Royal Thai Police, Siambit.me had over 100,000 VIP members and the operators were making an estimated 1.5 million baht (USD $41,000) on a monthly basis. The 5.5 million visits reported here align exactly with data reported by SimilarWeb, so we’ll put that aside for now. The reference to 100,000 VIP members indicates those paying a fee each month. The lowest monthly fee reported recently was just 99 baht with the highest at 499 baht, so roughly $2.70 to almost $14.00 per month. The higher monthly rate of $14.00 makes little to no sense in any context while the claim that 1.5 million baht was generated each month could in theory suggest around 15,000 members paying 99 baht each. If 100,000 members paid even the minimum rate each month, no figures from any source combine to produce a sensible total, so perhaps more information will emerge to clarify the situation. Images of Police Action Emerge Images that began circulating late last week seem to confirm that the authorities had good intelligence. Photographs such as the one featuring a server room below appear to have been taken at the home of the main suspect. When trying to establish a timeline for the events reported a few days ago a confusing picture emerged. In fact, to make any sense of these events we needed to go back, not just days, but several weeks. Thai Police & ACE Took Sites Down in January On January 19, 2024, we provided background on an ACE announcement detailing the shutdown of 27 Thai-focused sites, each reliant on a common infrastructure provided as a service by the website IAMTHEME.com. Around January 17, officers from the Central Investigation Bureau were preparing an operation to enforce the country’s strict pornography laws; in Thailand it’s illegal to distribute porn, possess it, or produce it. The bureau’s target was the suspected operator of numerous sites including xxxporn678.com, 037movie-hd.com, dooball678.com, movie678.com, and 678-hd.com. The first domain seems to have majored on illegal adult content while the rest appeared to focus on pirated movies and pirated live football streams. The common denominator for all sites was a) a reliance on services offered by IAMTHEME.com and b) offering porn illegally and/or generating revenue illegally from online gambling advertising. Combinations like these are an effective way to attract Thai authorities, who will shut sites down and arrest their operators. And that’s exactly what happened here. Items seized included four computers, eight mobile phones, and more than a dozen bank accounts. Dominoes Start to Fall Not long after the operator of xxxporn678 and the other sites was arrested, police began investigating the operator of IAMTHEME. On or around February 2, he too was placed under arrest, most likely for similar reasons. At some point, police determined that their latest suspect was either sourcing his porn and pirated movies from SiamBit or was otherwise connected to the site and/or its operator. That triggered a series of events that led to Thailand’s largest torrent site becoming the focus of the ACE announcement published on Monday. A source who asked not to be identified said that police initially expanded their investigation to identify the person in charge at SiamBit. Armed with a search warrant dated February 7 issued by a local court, on February 9 they targeted the home of a man in his late thirties* suspected of running the group that controls the site. *the suspect is believed to be either 38 or 40 According to the authorities, SiamBit had 10,000 VIP members, together paying around 1.5 million baht to its operators every month. For balance, we have also seen references to ‘100,000 members’ but without any mention of money. SiamBits’ tracker data obtained by TF shows a peak of almost a million peers while reporting over 200,000 members. It’s possible that the focus will end up being a monetary value, but whether that will be linked to porn and gambling, copyright infringement, or both, is still unclear. At least initially, police focused on suspected crimes under Section 287 of the Thai Penal Code. Section 287 makes it beyond clear that any kind of dealing in pornographic content is a criminal offense, punishable by a fine, a prison sentence, or both. While we were able to positively identify all four main suspects by name and home address, details here are limited to their initials, arrest location, alleged role, and reported age. CW: Sai Mai District. SiamBit operator and famous professional racing driver (38/40) PB: Chatuchak District. Financial controller (54) WNK: Surin Province. Website/systems administrator (42) NSWW: Surat Thani Province. Administrator, community manager (53) Several images made available by the authorities allegedly feature the suspected operator of SiamBits but whether all show the same person isn’t entirely clear. On the top row, images one and two show the same person at the same location, dressed in a light blue t-shirt, face blurred. However, the person with his face obscured in image three at the bottom seems to more closely match press images of the racing driver named as the main suspect. That raises the question of why the person in image three is wearing completely different clothes than those worn by the suspect in one and two. Other apparent anomalies include the Alliance for Creativity and Entertainment referencing the domain Siambit.me, which as far as we can establish is indeed the site’s main domain. Locally there appears to be greater interest in Siambit.io, which at the time of writing redirects to Google. Meanwhile, the .me variant currently redirects to a Telegram channel with over 18,700 members. Thai authorities confirm that their interest in SiamBit was raised due to complaints from companies in the movie industry. In its statement published yesterday, the anti-piracy group said that copyright infringement charges are expected in the next few days. From: TF, for the latest news on copyright battles, piracy and more. View the full article
  25. YEDM introduced K4LT as a new artist in July 2023, with his pensive, ambient track called “LCPD”. It was a follow-up to his first EP, Endgame, and was two years in the making as well as a departure from his original style. Now focused more on electronic production, “LCPD” has seen an intriguing amount of buzz, both from the industry and fans. Audiences are put on notice, however, not to settle into the dreamy, celestial vibe of “LCPD”. A very different mood is incoming with K4lT’s latest track, “This Room (Reprise)”. The Belin-based K4LT, whose artist name is a stylized version of the German word “kalt” (trans. “cold” in English), has said his new rash of songs is a reflection of the isolation created by the COVID lockdowns and the struggle of people even now to remember how to socialize. “This Room,” released early this month, with its pseudo-goth synth styling, relentless, quick-paced beat and the ennui and anxiety heavy in the lyrics, gives a disturbingly accurate picture of what many people are experiencing post-pandemic. “This Room (Reprise)” is also meant to be throwback to a song of the same name by The Notwist, one of K4LT’s biggest influences. This is not a remix or a cover, but a complete re-imagining of the track, as The Notwist’s original is more directly shoegaze and post punk with some interesting vintage and experimental interludes, which might remind some fans of mid-era Radiohead or Death Cab for Cutie merging with Venetian Snares. Refreshingly honest about naming his influences and inspirations, K4LT’s version is both a continuation of the original tone of the track and a reversal. Where The Notwist’s original is soft, vulnerable and largely rock-based, K4LT’s reprise semi-industrial and itchy, pacing, impatient, bordering on frustrated. A contrary statement to the original, but no less impactful. Perhaps “This Room (Reprise)” meant to show the difference in the way we manage relationships and interact with each other since the lockdown. Rather than focusing on a relationship and where it’s going, we’re constantly looking outward whilst staying inward, not satisfied but not willing to do anything about it. A tech-driven futility and an inability to process emotions through relationships – or even at all – stamps this track. That itch is there though, K4LT warns, and it’s ready to break the surface, the portends of the last line repeated before the song cuts off: “…up to interfere; up to interfere.” “This Room (Reprise)” is out now and available to stream along with K4LT’s other works on Spotify. They can also be purchased on Bandcamp. This article was first published on Your EDM. Source: New K4LT Track ‘This Room (Reprise)’ Pays Homage to Artist’s Muse View the full article
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