Mura Masa has proven the considerable wait for output was worth it, debuting his first original track of 2019 entitled “I Don’t Think I Can Do This Again.” The English producer/songwriter has been on a swiftly ascending ride since releasing his self-titled debut album in 2017. The album earned him a Grammy nominations as both artist and creative director for the project, while also winning the award for Best Remixed Recording on HAIM‘s “Walking Away” that same year.
23-year-old Alex Crossan (Mura Masa) has been fairly active in 2019, being featured on a BTS video game soundtrack and dishing out reggae-fueled remixes for Koffee. However, it’s hard to prepare fans for this one, as Crossan has finally unveiled the first track from his forthcoming sophomore album. Teaming up with 21-year-old singer/songwriter Clairo — hot off the release of her debut album, Immunity, and recently named Apple Music‘s Up Next artist — Crossan piggybacked off her alt-rock capabilities and dug deep into a retro new-wave sound.
Steering away from his laid-back electronics, Crossan adds soothing guitar melodies and light percussion layered beneath Clairo’s vocals. Listeners will notice Clairo’s alternative influences pop accentuated in the production, as the track chugs along, reaching a drop that features new levels of synth distortion (and a touch of angsty screaming for good measure).
Mura Masa and Clairo are expected to rendezvous once again, as they’ll both be headlining Reading and Leeds Festivals on August 24 and 25, respectively. A joint performance certainly wouldn’t be a ludicrous notion. The release comes with an official music video featuring Clairo and some downright wavy visuals. Watch it here.
The UK’s Association of Independent Festivals (AIF) has publicly renewed their call to competition authorities, citing dangerous and increasing dominance and control of large music events by Live Nation. Currently, Live Nation controls a slew of the country’s biggest festivals, including Reading & Leeds, Parklife and more. That level of dominance is something the AIF says will stifle the competition, specifically by attempting to lock acts into exclusive deals requiring them to only play Live Nation-controlled events.
“Nobody wins from that,” one festival organizer told The Guardian. “We’ve all got an interest in the bands and the scene flourishing.”
To support the public declaration of concern, the AIF even created a map showing prominent UK events and the 26 percent of them currently under the control of Live Nation. Additionally, the organization is launching a “Stamp of Independence,” with the goal of giving festival-goers the power to support independent businesses in the UK’s music scene. AIF chief executive Paul Reed further explained the impact Live Nation’s growing influence could have on music fans.
“Allowing a single company to dominate festivals reduces the amount of choice and value for money for music fans,” Reed said. “It can block new entrants to market, result in strangleholds on talent through exclusivity deals and stifle competition throughout the entire live music business.”
Live Nation has yet to comment on the AIF’s accusations.
We have today published an ownership map of UK festivals over 5,000 capacity. A single transnational company Live Nation now owns / operates over 25% of these. We are renewing our call to competition authorities to investigate this market dominance. pic.twitter.com/PCoYGXyqJI
Pendulum gave Reading Festival’s BBC Radio 1 stage a treat this weekend, with an hour straight of live favorites and deep cuts. For fans who couldn’t make it to the UK for their Pendulum fix, there’s good news — the band’s performance has appeared on YouTube in full. Their headlining performance tears through fan favorites from their 2010 LP Immersion like “Witchcraft” and “The Island Pt. 1,” alongside fan favorites like “Tarantula” and “Blood Sugar.” The crowd’s elated singalong with the vocal breakdown in “Watercolour” is a must see.
Rob Swire announced in 2017 that the live electronic pioneers were back, returning from a six year hiatus. The band announced tour and festival dates, with the promise that new music was in the works. So far, they’ve held fans’ appetites at bay with the release of an album’s worth of remixes in June of 2018 called The Reworks, with help from names like Noisia, Skrillex, ATTLAS and more.
Note – the first three minutes of the recording are audio only, before video kicks in.