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armandj · 4 years ago

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French Cryptoasset Platform Tower Introduces Anti-Crisis Business Solution

Paris-headquartered Tozex, a cryptoasset platform for issuing, financing, and trading announced it has introduced the Believers Reward Offering (BRO). The BRO is a sustainable alternative toIcons andStops to help SMEs overcome tough economic times and open new financing possibilities.

The BRO isbrand-newncrowd lendinging investment system that allows businesses to finance their development by borrowing crypto assetstable coinsins) from investors around the world. Different from its predecessors, the BRO is the fircrowd lendinging protocol created on the blockchain that utilizes smart contract capabilities and supporstable coinsins.

New ways of fundraising

Tozex’s Towerunders, crypto and blockchain experts Remy AOz can Ozcan and Christophe AOz can Ozcan, emphasize the importance of a new fundraising mechanism.

They said that the BRO is a fundraising method that will come in handy today, when the market is struggling to survive one of the most severe economic crises of the 21st century. In comparison to the more riskyIcon (which flourished during the 2017 cryptocurrency boom when people were willing to take risks), the BRO implecrowd lendingdlending system that guarantees the execution of the agreement between the investor and the borrower.

“We expect that ITO will get out of its historic cradle as a fundraising method dedicated to blockchain startups only. Considering its characteristics (quick start, massive funds, no capital dilution, liquidity), this new powerful way to raise funds cannot be limited to startups in the future, ” saiOz cany AOz can Ozcan, Towerunder of Tozex and president of the French Federation of Blockchain PFFBssiTower (FFPB).

Tozex said that BRO allows users to sharply decrease the pump-and-dump phenomenon, limit volatility, and foster growth by providing equal treatment of all contributors, a feature that it couldn’t even dream of before and the absence of which consequently made many market players unfriendly towards the new technologies.

At theTower time, the Tozex platform allows users to choose any fundraising mechanism they prefer. BRO, Icon, andStop will be avaiTower after the Tozex BRO campaign, which officially starts on June 22, 2020, and is now greinvestmentts pre-investment stage, according to the announcement.

source https://www.financeary.com/cryptocurrency/french-cryptoasset-platform-tozex-introduces-anti-disaster-enterprise-resolution.html

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bedlamfoundry · 5 years ago

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You & I - Suitcase Stories (Official Music Video)

You & I - Suitcase Stories is OUT NOW on Spinnin' Deep! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://spinnindeep.release.link/suitcase-stories!YT Valerie and Mik decided to quit their jobs, sold everything they owned: their house, their car, their furniture and personal belongings to travel around the world together. They don’t have a fixed plan or specific destination in mind, they just go wherever their dreams take them. Immerse yourself in the world of Suitcasestories.be by watching this video and enjoy the soundtrack, based on Duran Duran’s iconic song “Save A Prayer”. Follow the stories of Valerie and Mik on their adventure around the world https://www.suitcasestories.be https://www.instagram.com/suitcasestories.be https://www.facebook.com/suitcasestories.be/ Make sure to subscribe to Spinnin' Records: http://bit.do/spinnintv ..and turn on notifications to stay updated with all new uploads!🔔 Join our Spinnin' Records Top 100 Playlist ► https://spinninrecords.lnk.to/top100!YT --- The Spinnin’ Records YouTube channel is the home for all music videos of the world’s leading dance record label! We feature the latest music videos by Spinnin’ artists like Oliver Heldens, Sam Feldt, KSHMR, Ummet Ozcan, Blasterjaxx, Merk & Kremont, Timmy Trumpet, Tujamo, Alok, Curbi, Mike Williams, Lucas & Steve, Throttle and many, many more! Expect daily uploads of official music videos, lyric videos and official audio across genres like dance, house, electro house, future house, deep house, big room and trap. Follow Spinnin’ Records: https://open.spotify.com/user/spinninrecordsofficial https://soundcloud.com/spinninrecords https://facebook.com/SpinninRecords https://instagram.com/spinninrecords https://twitter.com/SpinninRecords https://spinninrecords.com #Spinnin #SpinninRecords #SuitcaseStories #YouandI #BeFree #BeBeautiful #BeYOU #BeLOVE #BedlamFoundry #IAmBedlam #EDM #Spinnin #Spinnin'Records #SpinninRecords #SpinninTV #spinning #spinninofficial #suitcasestories #you&i #you&i suitcase stories #progressivehouse #deephouse #spinnindeep #traveling

#IAmBedlam #Spinnin #Spinnin'Records #SpinninRecords #SpinninTV #spinni

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biofunmy · 5 years ago

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To Reduce Hospital Noise, Researchers Create Alarms That Whistle and Sing

In 2012, Yoko Sen was in an emergency room, tethered to a machine bleating relentlessly in her ear.

She was “freaked out,” she said, and felt helpless.

When a nurse returned to the room, Ms. Sen asked if it was O.K. the device was screaming.

“Yeah, this thing just beeps,” she recalled the nurse saying.

Ms. Sen, an electronic musician, was stunned. How could something “so loud and so jarring” be considered normal?

“The fear of not knowing amplified the feeling of anxiety,” she said.

And how, she wondered, could clinicians withstand the clangor?

As she lay there, she said, a cardiac monitor rang out in a tone close to the musical note of C, clashing with a distant device wailing in a high-pitched F sharp, creating what’s called the devil’s interval, a dissonance so chilling that medieval churches forbade it.

Hospitals today can be sonic hellscapes, which studies have shown regularly exceed levels set by the World Health Organization: droning IV pumps, ding-donging nurse call buttons, voices crackling on loudspeakers, ringing telephones, beeping elevators, buzzing ID scanners, clattering carts, coughing, screaming, vomiting.

Then there are the alarms. A single patient might trigger hundreds each day, challenging caregivers to figure out which machine is beeping, and what is wrong with the patient, if anything. (Studies have shown that as many as 99 percent of alarms are false.)

The proliferation of pinging and bleeping can contribute to patient delirium and staff burnout. And because caregivers know that many devices are crying wolf, they might be less responsive or apathetic, a potentially fatal safety issue known as alarm fatigue.

From 2005 to 2008, more than 500 patients in the United States had adverse outcomes, mostly death, because an alarm was ignored, or a device was silenced or mismanaged in some way, according to the Food and Drug Administration, which tracks adverse events involving medical devices.

‘The cruelest absence of care’

“You don’t need to have alarms scream at you,” said Judy Edworthy, a professor of applied psychology at the University of Plymouth, in Britain.

But, she said, “people take a lot of convincing” that alarms don’t need to be so startling.

For device manufacturers, sound is often an afterthought in the design, Dr. Edworthy said, and they are worried about being sued if a machine had failed to cry out.

So, without an enforceable, universal standard, alarms have run riot.

They are also using sounds based on an outdated set of international safety standards, which have, paradoxically, perpetuated the din.

Dr. Edworthy, who has been called the godmother of alarms, is leading a passionate group of specialists, including Ms. Sen, who now works with device manufacturers and hospitals to incorporate the needs of patients and clinicians, and Elif Ozcan, who leads the Critical Alarms Lab in the Netherlands.

Together, this group is developing tones that replace the anodyne blare of the current alarms with signals that mimic electronic dance music or a heartbeat.

They are working to make alarms quieter, combining audible alarms with visual cues like interactive screens that look like paintings, and working to develop a new standard that is likely to go into effect early next year.

“Unnecessary noise is the cruelest absence of care,” Ms. Sen said to a room full of medical professionals at a conference last year about end-of-life management. The words came from the mother of modern nursing, Florence Nightingale, who worked in the Crimean War in the 19th century.

An international standard that perpetuates the din

Deep in the rule book for safety and performance of medical devices is IEC 60601-1-8, which sets the standards for medical device alarm sounds. The particulars of the code were hashed out over many years by a joint working group, assembled by the International Electrotechnical Commission, a nonprofit based in Switzerland that publishes guidelines for electronic and technical equipment used by hospitals.

Among other specifications, the standard sets forth tones for six critical functions: cardiovascular, drug administration, ventilation, oxygen, temperature and artificial perfusion (the flow of blood and oxygen), also known as “the six ways people die.”

At one point, the popular melody “I Left My Heart in San Francisco” was floated as a possible signal for cardiac problems, but ultimately, it did not make the cut.

“The songs are not supposed to be the Billboard top 100,” said Dr. Frank Block Jr., an anesthesiologist and musician, who was on the committee that passed the 2006 standard that is still largely in place.

Among the tones that were approved was a tune reminiscent of the old NBC chime, meant to mimic rising and falling lungs, Dr. Block said.

And the sound for mechanical blood flow and oxygenation was modeled after the “yo-EE-oh” of the Witch’s guards from “The Wizard of Oz,” a musical tritone known as the devil’s interval.

The sound for drug infusions was intended to mimic drops falling and “splashing” up, represented by a jazz chord called an inverted ninth.

But each ditty has the same rhythm and the same number of pulses, making them difficult to tell apart and difficult to learn. And they were never tested. Dr. Block later issued a public apology on behalf of the committee for approving the sounds.

“We did the best we could,” he said recently, “but the sounds were basically terrible.”

Now, Dr. Edworthy is spearheading the creation of a “revolutionary” set of tones, Dr. Block said.

Audio technology has changed drastically since the eight tones were created, said Dr. Edworthy, who has created sonic alerts for nuclear plants and train systems.

“It’s now possible to produce pretty much any sound you want from a medical device,” she said. “Of course, that’s a new set of problems.”

The proposed sounds, called auditory icons, are representative of their functions, like the crumpling paper sound that your computer makes when you throw files in the trash. In this case, the sounds represent critical organ functions and imitate the lub-dub sound of a heartbeat, or a rattling pill bottle for a drug infusion, or a whistling teakettle for temperature.

“We’ve amassed a load of data demonstrating that these sounds work very well,” said Dr. Edworthy, who is collaborating with other researchers, including Dr. Joseph Schlesinger, an associate professor at Vanderbilt University, to test how quickly clinicians are able to learn and respond to the sounds, how easily they can be identified, and how loud they need to be.

She has presented her findings to the current committee, which has been described as a “United Nations of medical sound,” and includes representatives from medical device companies and from countries with differing philosophical and cultural perspectives on alarms.

“You’re asking people to make changes that are going to cost millions of dollars, and some just don’t want to,” she added.

That said, the strength of the standard varies between countries, which can adopt all, parts or none of the written guidelines. In the United States, Dr. Block said, the Food and Drug Administration usually follows the standards, but it may add further requirements.

But the bottom line is that no device manufacturer wants a dead patient tethered to one of its machines.

Dr. Edworthy said she was confident that the new sounds would be adopted, provided politics don’t get in the way.

Alarms that do more than beep

At the Critical Alarms Lab, Dr. Ozcan recorded rattling pill bottles and running water to effect Dr. Edworthy’s concepts.

Dr. Ozcan, who has had practice translating vast quantities of data into audio cues for the European Space Agency’s mission control dashboards, said her group at the lab was developing devices to hush the intensive care unit, which can be louder than a vacuum cleaner, and challenging conventional device design, possibly even making alarms “beautiful,” she said.

One of her group’s projects, called CareTunes, is a speculative, even quixotic, melodic design.

The device transcribes a patient’s physiological condition into songs that sound a bit like chill electronic dance music. (Ms. Sen was an artistic adviser to the project.)

The melody is derived from a patient’s vital signs: drums for the heartbeat, guitar for oxygen saturation and piano for blood pressure. When a patient is stable, the tune is harmonious, but it becomes dissonant when a patient’s status changes for the worse, ideally grabbing a caregiver’s attention.

The device would not replace a “code blue,” Dr. Ozcan said, but it could potentially reduce the number of beeps, as caregivers would be alerted that a patient was veering into a danger zone before an alarm is triggered.

The challenge, said Dr. Ozcan, is balancing the needs of patients and clinicians, who would have to learn and integrate new devices into their work flow.

Dr. Ozcan said she was hopeful that the research done at her lab could be applied in other settings, such as air traffic control rooms, or would be relevant for research on how sound influences health in general, especially in work environments.

“We owe it to the community and health care,” she said.

Yoko Sen has since recovered from her illness, but the bleating monitors are still “the soundtrack of my life,” she said.

Through her start-up Sen Sound based in Washington, she has collaborated with medical device engineers to create new tones for home heart monitors, and with interior designers to build a so-called tranquillity room, where clinicians can relax, making them less likely to slam doors or talk loudly.

During a person’s last moments, her eyes might be closed, his nose covered by a ventilator, her food ingested by tube. Unless someone is holding her hand, she might feel nothing.

“For patients who die in the I.C.U., that sound of the alarm might be last sound they hear,” she said.

As part of a project with OpenIdeo, Ms. Sen interviewed hundreds of people about the last sound they would want to hear during their final moments.

Many people said they wanted to hear sounds from nature, like the ocean, or voices of family members.

No one, she said, mentioned bleating alarms.

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harryfisheraa82 · 6 years ago

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Servia Is Planning to Open in Downtown Boston; Ozcan Ozan (Sultan's Kitchen) Apparently Behind It

by Marc Hurwitz A new restaurant may be coming to the heart of downtown Boston, and a familiar name appears to be involved with the place. According to a licensing board hearing page within the city's website, Servia is looking to open on State Street and is seeking the liquor license from the now-closed Vanderbilt, which was located on nearby Water Street. The manager listed is Ozcan Ozan, who is presumably the person behind Sultan's Kitchen, an iconic Turkish eatery that was also on State Street until it closed around the beginning of 2018 after more than 35 years in business. The hearing notice mentions that Servia would include a dining room and bar on the ground floor of the building, with a total of 5,040 square feet of space--and with some of that used for an office area and restrooms. It is not yet known what food the proposed restaurant might offer, though Sultan's Kitchen served such items as lentil soup, kebabs, humus, tabbouleh, baba ganoush, stuffed grape leaves, musakka, and rice pilaf. Vanderbilt closed in 2018 after being in business for a bit more than a year; the dining and drinking spot resided in a former bank building and had been called The Vault until changing its name in 2015. The address for the proposed Servia is 126 State Street, Boston, MA, 02109. [Earlier Articles] Sultan's Kitchen in Downtown Boston Has Closed Vanderbilt Kitchen & Bar in Boston's Financial District Is Closing Follow us on Twitter at @hiddenboston

[A related post from our sister site (Boston's Hidden Restaurants): List of Restaurant Closings and Openings in the Boston Area]

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kevindurkiin · 5 years ago

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W&W Talk Rave Culture, New Music, Production and Career Tips [Interview]

Music is constantly evolving, whether it’s rock, rap, dance, genres are constantly cycling through artists, time stops for no one. To achieve longevity as a musician is a tremendous accomplishment, especially in dance music, where the marketing cycle is very single driven and tastes and trends are constantly changing. One of the acts that has achieved this status has to be W&W. Hailing from the EDM hotbed that is the Netherlands, W&W has managed to stand out from the crowd over the better part of this decade.

Ward van der Harst and Willem van Hanegem were some of the early pioneers of the EDM movement that rode into the US around 2013. They produced massive tracks like “Bigfoot,” “The Code” with Ummet Ozcan, “Don’t Stop the Madness” with Hardwell, “Rocket” with Blasterjaxx, and perhaps their most iconic track, “Rave After Rave.” Through their production prowess and steady touring schedule, it’s easy enough to catch a W&W set, whether it be at EDC, Ultra or TomorrowLand.

Ward and Willem recently rebranded their label and aesthetic as Rave Culture with the accompanying title track and a slew of new releases that have seen them dabble in psy-trance and hardcore, as well as collaborate with some of the biggest names in the industry, and their close friends, Armin van Buuren and Dimitri Vegas & Like Mike. We got the chance to sit down and talk with Ward and Willem before their set at EDC Las Vegas a couple of weeks ago. I talked to them about Rave Culture and the evolution of their sound, and they were incredibly enthusiastic sharing their thoughts with us. Here’s our exclusive interview with W&W:

Tell me about the rebrand, tell me about Rave Culture, what were the origins?

Willem: “A lot of things actually, we used to have Mainstage Music, and the music that we signed was pigeon-holed as that kind of sound. With Rave Culture, Rave is something bigger than only EDM or trance.”

Ward: “We have some really cool techy-stuff coming up.”

Willem: “But, like also, a lot of people want us to host the second stage, you can’t have a Mainstage second stage. We actually have like a community following, like a culture, because of them, we wanted to rebrand, to fit better. Like an ode to them.”

Ward: “They already created this Mainstage family.”

Willem: “We didn’t even know about them, they showed us all these groups, with all the songs that we’re not releasing.”

Ward: “A huge WhatsApp group, it’s also pure 100% organic”

Willem: “That inspired us also to do that, the whole move.”

That leaves you guys open to pursue new sounds, you’re not pigeon holed into one genre. Tell me about the stuff you guys have been experimenting with, I know there’s been a lot of psy-trance?

Willem: “Last year we did a psy-trance collaboration with Vini Vici, we did one with Maurice West, which is also more psy-ish, futuristic. Because with Vini Vici we did more tribal, that kind of sound, the sci-fi one is with Maurice West, to balance it out. And lately we’ve been coming back to those old EuroDance days, like when we were young, like ‘God is a Girl’”

Ward: “Very uptempo.”

Willem: “Nostalgic, here they call it techno, but for us it’s called ‘German hands-up.’ Because when we were young, those songs were played in the club. To be honest, funny thing about ‘God is a Girl’ is I really wanted to have that song when I was like 11. But it was always played in the club, and you didn’t have Shazam back then. The DJs were dicks back then, I came up to them, can you tell me which song, nope, they just ignored me. We’ve been doing a lot of hardstyle as well, last year the one with Darren Styles, they call it UK hardcore, it has the energy of hardstyle, but like a softer kick.”

Ward: “Yeah, it’s more happy.”

Willem: “So, every year we try to dive into some of the styles we like that are new, and of course, we do the energetic main stage big room and trance, that’s what we always do. We always try to change it up, we don’t want to play the same set every year.”

Ward: “We always want to be able to do a little bit more trance-y stuff, if you only work on the same kind of stuff the whole time, it gets boring, so it’s nice to switch around between all the different projects.”

Willem: “We love to produce, we can’t just do one sound.”

Ward: “After two days of producing big room or whatever you call it, its like oh lets do some trance again, and after a week of trance, like, let’s get this done.”

Tell me how you guys have come up with your schedule of collabs, there’s been stuff with Armin van Buuren, new song with Blasterjaxx, how have you guys been lining that stuff up.

Willem: “The Blasterjaxx one, they just sent to a demo to us and we were like, this is sick, let’s work on this. And the Armin one, we sent a demo to Armin for Ultra, and he was like I already finished my set, but I love this so much.”

Ward: “He was stressing out, because he was like I have no room in my set for this, I have to cut something out. I really feel sorry for the song that couldn’t make it, some guy was really excited, he’s going to play my song.”

Willem: “But, yeah, we’re all friends, and we share a lot of demos, if we feel like this has some Armin vibes we’ll send it to Armin, Blasterjaxx will do it with us.”

Ward: “The one we did with Dimi & Mike there was a tiny setup.”

Willem: “Yeah, Armin and Dimi started, looped us in and then we all worked together on it.”

Ward: “It’s all a very small community.”

Willem: “It’s not like we plan, let’s do a song together, something starts and we just share it around.”

We’re here at EDC Las Vegas, what does it mean to be playing here at the premiere North American dance music festival? How does it feel to be on that main stage?

Ward “Great”

Willem “Amazing, EDC was always one of the festivals we wanted to play when we started. There’s always a few festivals we want to play every year, this and Tomorrow Land, those festivals we want to play for the experience.

Ward “A festival like this is really hard to find anywhere else in the world, it’s just unique in so many aspects, the location, the production. When you walk around here it feels like you’re in a different world. It makes it very special.

Going back to the music, it’s very cyclical, there’s always trends. What’s the challenge for you guys as artists, how do you satisfy yourselves and the fans?

Willem: “The way we look at trends, when somebody comes up with something new, we’re always very excited, even if it’s not our type of style, it’s the production. So, we look into that artists style and we’ll re-create elements of it, but we’re not going to make that sound, because that guy came up with that sound, it’s his sound. So it’s like okay, we like this element, what if we grab that element and sequence the melody and put that into something we do. And that’s how we come up with new sounds and try to innovate. We don’t want to copy.”

Ward: “Then you’re also at least one step behind, because someone did it before, and you can never make something really original.”

Willem: “We see a lot of guys, like this is hot right now, so I’m going to make that, but that doesn’t work. Use your own identity.”

Ward: “Yeah, have your own style and then implement a lot from others.”

Willem: “Yeah, and some trends it’s like this is cool, but it’s not for us.”

Ward: “We skip on it.”

Willem: “Whatever is new, we always look at everything that comes out and analyze it. From a production point of view and also from a DJ point of view. Would we love to play something like that or no? That’s how we usually look at music.”

Also from a production standpoint, have you ever put out a track and been like, oh no, that wasn’t very good, we could have done better?

Willem: “A lot, a lot of times, half of our discography I don’t want to listen to.”

Ward: “Sometimes we’re very excited about something, and then six months later, you listen back to it and we’re like what were we thinking.”

Willem: “It happens, it’s part of the whole thing.”

Ward: “But, then there’s also stuff we’ve put out in the past that we’ve been uncertain about, and now I listen to it, and it’s like, oh, that was actually nice.”

Willem: “We don’t always look at the success of a track, sometimes we put something out and it does nothing at all, and we’re like, hey, that was actually not that bad.”

Any words or messages for the fans?

Willem: “Thanks for always supporting us, even right now, our kind of sound is not the biggest in the US, but every single time we come here, there’s so many fans coming out.”

Ward: “Yeah, we played a few shows the past few months, and every time it’s always really good shows out here.”

Willem: “We’re super happy to be back, especially at EDC!”

Check out W&W’s latest single with Blasterjaxx “Let the Music Take Control” out now on Rave Culture.

youtube

Photo via Rukes.com

This article was first published on Your EDM. Source: W&W Talk Rave Culture, New Music, Production and Career Tips [Interview]

W&W Talk Rave Culture, New Music, Production and Career Tips [Interview] published first on https://soundwizreview.tumblr.com/

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bluebuzzmusic · 5 years ago

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W&W Talk Rave Culture, New Music, Production and Career Tips [Interview]

Tell me about the rebrand, tell me about Rave Culture, what were the origins?

Ward: “We have some really cool techy-stuff coming up.”

Ward: “They already created this Mainstage family.”

Willem: “We didn’t even know about them, they showed us all these groups, with all the songs that we’re not releasing.”

Ward: “A huge WhatsApp group, it’s also pure 100% organic”

Willem: “That inspired us also to do that, the whole move.”

That leaves you guys open to pursue new sounds, you’re not pigeon holed into one genre. Tell me about the stuff you guys have been experimenting with, I know there’s been a lot of psy-trance?

Ward: “Very uptempo.”

Ward: “Yeah, it’s more happy.”

Willem: “We love to produce, we can’t just do one sound.”

Ward: “After two days of producing big room or whatever you call it, its like oh lets do some trance again, and after a week of trance, like, let’s get this done.”

Tell me how you guys have come up with your schedule of collabs, there’s been stuff with Armin van Buuren, new song with Blasterjaxx, how have you guys been lining that stuff up.

Willem: “But, yeah, we’re all friends, and we share a lot of demos, if we feel like this has some Armin vibes we’ll send it to Armin, Blasterjaxx will do it with us.”

Ward: “The one we did with Dimi & Mike there was a tiny setup.”

Willem: “Yeah, Armin and Dimi started, looped us in and then we all worked together on it.”

Ward: “It’s all a very small community.”

Willem: “It’s not like we plan, let’s do a song together, something starts and we just share it around.”

We’re here at EDC Las Vegas, what does it mean to be playing here at the premiere North American dance music festival? How does it feel to be on that main stage?

Ward “Great”

Going back to the music, it’s very cyclical, there’s always trends. What’s the challenge for you guys as artists, how do you satisfy yourselves and the fans?

Ward: “Then you’re also at least one step behind, because someone did it before, and you can never make something really original.”

Willem: “We see a lot of guys, like this is hot right now, so I’m going to make that, but that doesn’t work. Use your own identity.”

Ward: “Yeah, have your own style and then implement a lot from others.”

Willem: “Yeah, and some trends it’s like this is cool, but it’s not for us.”

Ward: “We skip on it.”

Also from a production standpoint, have you ever put out a track and been like, oh no, that wasn’t very good, we could have done better?

Willem: “A lot, a lot of times, half of our discography I don’t want to listen to.”

Ward: “Sometimes we’re very excited about something, and then six months later, you listen back to it and we’re like what were we thinking.”

Willem: “It happens, it’s part of the whole thing.”

Ward: “But, then there’s also stuff we’ve put out in the past that we’ve been uncertain about, and now I listen to it, and it’s like, oh, that was actually nice.”

Willem: “We don’t always look at the success of a track, sometimes we put something out and it does nothing at all, and we’re like, hey, that was actually not that bad.”

Any words or messages for the fans?

Willem: “Thanks for always supporting us, even right now, our kind of sound is not the biggest in the US, but every single time we come here, there’s so many fans coming out.”

Ward: “Yeah, we played a few shows the past few months, and every time it’s always really good shows out here.”

Willem: “We’re super happy to be back, especially at EDC!”

Check out W&W’s latest single with Blasterjaxx “Let the Music Take Control” out now on Rave Culture.

youtube

Photo via Rukes.com

This article was first published on Your EDM. Source: W&W Talk Rave Culture, New Music, Production and Career Tips [Interview]

source https://www.youredm.com/2019/06/03/ww-talk-rave-culture-new-music-production-and-career-tips-interview/

#edm #music #music production #music news #edm news

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bedlamfoundry · 6 years ago

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Redondo vs. Rockefeller - Pretty Baby (Official Music Video)

Dutch DJ/producer act Redondo reinvents the iconic 1980 single ‘Pretty Baby’, as it teams up with Rockefeller to bring the nostalgia of Sister Sledge right up-to-date and into the 21st century with their distinctive style and inimitable production flair. Redondo vs. Rockefeller - Pretty Baby is OUT NOW on SPRS! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: http://sprs.release.link/pretty-baby!YT Make sure to subscribe to Spinnin' Records: http://bit.do/spinnintv ..and turn on notifications to stay updated with all new uploads!🔔 Join our Spinnin' Records Top 100 Playlist ► https://spinninrecords.lnk.to/top100!YT Follow Redondo: https://www.facebook.com/redondomusic https://twitter.com/RedondoMusicNL https://www.instagram.com/redondomusic https://soundcloud.com/redondo --- The Spinnin’ Records YouTube channel is the home for all music videos of the world’s leading dance record label! We feature the latest music videos by Spinnin’ artists like Oliver Heldens, Sam Feldt, KSHMR, Ummet Ozcan, Blasterjaxx, Merk & Kremont, Timmy Trumpet, Tujamo, Alok, Curbi, Mike Williams, Lucas & Steve, Throttle and many, many more! Expect daily uploads of official music videos, lyric videos and official audio across genres like dance, house, electro house, future house, deep house, big room and trap. Follow Spinnin’ Records: https://open.spotify.com/user/spinninrecordsofficial https://soundcloud.com/spinninrecords https://facebook.com/SpinninRecords https://instagram.com/spinninrecords https://twitter.com/SpinninRecords https://spinninrecords.com #Redondo #Rockefeller #Spinnin #SpinninRecords #SPRS #BeFree #BeBeautiful #BeYOU #BeLOVE #BedlamFoundry #IAmBedlam #EDM #Spinnin #Spinnin'Records #SpinninRecords #SpinninTV #spinning #spinninofficial #redondo #rockefeller #prettybaby #redondovsrockefeller #redondovsrockefeller pretty baby #redondoprettybaby #rockefellerprettybaby #officialmusicvideo #discohouse #sprs #redondoofficial #rockefellerofficial #prettybabyofficial #sistersledgeremix #prettybabyremix #prettybabyredondo #prettybabyrockefeller

#IAmBedlam #Spinnin #Spinnin'Records #SpinninRecords #SpinninTV #spinni

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