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An artistic audio alliance between Italian producers Fabio Giannelli and Alessandro Gasperini, Glowal merges stirring atmospherics, contagious rhythms and emotive vocals to create a unique sonic identity. In a very short time Glowal have captivated the imaginations of electronic music lovers and influential tastemakers all over the world, establishing themselves as a dynamic, forward-thinking duo. With releases on Innervisions, Diynamic, TAU, Sapiens and many more, plus gigs across the globe they are in high demand, earning universal respect for their productions and sublime DJ performances. It’s only been a year but Glowal have already picked up a dedicated global following, which includes renowned selectors such as Dixon and Solomun. Hardworking, innately talented and full of passion for their craft, Glowal are making quite an impact. Born and raised in Italy, both Alessandro and Fabio were influenced by their older brothers. Alessandro’s brother was an event promoter in their hometown Pisa, he introduced young Alessandro to electronic music by taking him to his parties. Meanwhile, in Lecce, Fabio’s brother collected records and DJ’d at friends’ parties from time to time. Young Fabio fell in love with the electronic artists in his brother’s collection; Daft Punk, The Prodigy, Robert Miles... When they got old enough, the two men began experimenting with making and playing their own music. Glowal was born and hit the scene in 2018. Since then their reputation and status within the underground scene has grown rapidly, buoyed by releases like ‘Flowers On Tears’ [Siamese] and ‘Divisions Control’ [Atlant]. At the beginning of 2019, their breakthrough cut ‘Cries’ was released on Part 11 of Innervision’ highly respected Secret Weapons compilation. ‘Cries’ exemplifies the Glowal sound, rousing atmospherics, solemn yet catchy melodies and slick production with a very human core. It’s music designed to move your body, mind and soul. A few months after ‘Cries’ blazed its trail, the duo released their first full EP with Exit Strategy. The whole package was met with widespread respect and positivity, delivering the full Glowal experience across three distinct compositions. Meaningful vocals play a key role in Fabio and Alessandro’s productions, whether it’s clever storytelling or lyrics that relate to the world we’re living in.
This vocal expression gives the music a deeper intention than simply moving the dancefloor. More recently their production exploits have included a stunning link up with Adana Twins for Diynamic’s Picture series. ‘My Computer’ went straight into the the No.1 position on Beatport’s Indie Dance charts when it was released and has been a staple of Solomun sets throughout most of 2019, causing mayhem at clubs and festivals all over the world and hailed by many as one of the tracks of the year. Following that, the duo released a four-track EP on Adana Twins’ TAU label. ‘A.I. Talk’ offered further insight into the Glowal’s world views, with the title track a particularly stark and succinct commentary on human’s destruction of their own habitat, planet Earth. They have also remixed the mighty Agoria and BOg & GHEIST, producing unforgettable reinterpretations that channel their penchant for lyrical content with their innate ability to craft earworm melodies and enchanting rhythms. Their latest release is ‘Pressure’ on Innervisions’ Secret Weapons Part 12. As DJs Glowal operate as one unit, using two pairs of headphones while selecting and playing the music together as opposed to a standard back-to-back. In working like they translate the symbiosis they experience in the studio to a live setting. For both men it’s important to work as a unified force, their ideas and creative energy merging as one to produce a scintillating performance. So far their gig schedule has included shows in London, Berlin, Moscow, Tel Aviv, Istanbul, Milan, Bangalore, Florence, Dubai and many other locations around the world. It’s been a whirlwind so far, but Glowal are only just getting started. Full of energy, ideas and passion, they are driving forward with the intention to keep building on the sterling reputation they have already established. Look out for lots more goodness from Glowal as they continue to deliver their unique sound to the dancefloors of the world...
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alsey’s new studio album, If I Can’t Have Love, I Want Power, debuts at No. 1 on Billboard’s Top Album Sales chart (dated Sept. 11), marking her third No. 1 on the list. She previously also opened at No. 1 with her last two releases, Manic (in 2020) and Hopeless Fountain Kingdom (2017). If I Can’t Have Love was released on Aug. 27 and launches with 70,500 copies sold in the U.S. in the week ending Sept. 2, according to MRC Data. Billboard’s Top Album Sales chart ranks the topselling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now MRC Data. Pure album sales were the measurement solely utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. The new Sept. 11, 2021-dated chart (where If I Can’t Have Love debuts at No. 1) will be posted in full on Billboard's website on Sept. 8, one day later than usual, owed to the Labor Day holiday in the U.S. on Monday, Sept. 6. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram. Of If I Can’t Have Love’s sales of nearly 70,500 in the week ending Sept. 2, physical album sales comprise just over 52,500 (with 25,300 on vinyl, 27,200 on CD and a negligible sum on cassette) and 18,000 via digital download. If I Can’t Have Love also debuts at No. 1 on Billboard’s Vinyl Albums chart. It additionally starts at No. 1 on the Tastemaker Albums chart, which ranks the topselling albums of the week at independent and small chain record stores, having sold just over 6,000 copies, across all formats, through those sellers. Kanye West’s surprise-released Donda album, which arrived on Aug. 29, debuts at No. 2 on Top Album Sales with just under 37,000 copies sold -- all from digital downloads. (A physical release for the project has yet to be announced.) Donda is West’s 11th top 10 on Top Album Sales -- the entirety of his charting efforts. OneRepublic’s latest studio effort Human bows at No. 4 on Top Album Sales with 17,000 sold. It’s the third top 10 for the act. TOMORROW X TOGETHER’s former No. 1 The Chaos Chapter: Freeze, falls 2-5 with 14,000 sold (down 68%) and Billie Eilish’s chart-topping Happier Than Ever dips 4-6 with 12,000 sold (down 34%). CHVRCHES lands its third top 10 on Top Album Sales as the band’s new studio album Screen Violence debuts at No. 7 with nearly 12,000 sold. Just over 5,000 of that sum came via vinyl LP sales, enabling its debut at No. 6 on the Vinyl Albums chart. Rock band Turnstile notches its first top 10 on Top Album Sales as Glow On bows at No. 8 with 11,500 copies sold. It was a strong performer on vinyl, with nearly 8,000 copies sold via the format -- landing a debut at No. 3 on the Vinyl Albums chart.
The Beach Boys’ archival set Feel Flows: The Sunflower & Surf’s Up Sessions – 1969-1971 debuts at No. 9 on Top Album Sales with 10,000 sold. It’s just the second top 10 for the band since the Top Album Sales chart launched in 1991. The group previously hit the region with the 2012 studio album That’s Why God Made the Radio, which debuted and peaked at No. 3 (June 23, 2012-dated chart). Rounding out the top 10 is J. Cole’s former No. 1 The Off-Season, which re-enters the chart at No. 10 with 7,000 sold after its release on vinyl LP on Aug. 27. The album sold 6,000 copies on vinyl in the week ending Sept. 2, and the set bows at No. 5 on the Vinyl Albums chart.
Francesco Ferraro a talented producer born on 1988 in Santa Barbara (California, US) and actually based in Italy. The approach with the world of producing began around 2004 using a simple homework setup. From the last years he been focusing his interest picking up some minimal/tech drops and techno milestones for release them in the most groundbreaking labels on the scene like (King Street Sounds, Nervous, Launch Entertainment, Kevin Saunderson's KMS, Marshall Jefferson's Freakin'909, Bosphorus Underground, Natura Viva, Habitat) With his pro-activity and motivation he achieved several times satisfactory scores on Top 100 Tech House / Techno / Minimal all over several digital platforms.
Positive feedbacks also acting as remixer, building an ever growing reputation as a true artist fully addicted and determined to transform the freshest and darkest cuts from a global repertoire of artists in the business in something completely insane for the underground club culture... Popularity has been reached by his VΛNITY CRIME side-project reflecting and expressing all the influences based on the pure old-school techno movement experienced through the years, and specially from all the important artists that left a sign of it in the worldwide scene. So far, this brought him to be special guest of gigs for the most incredible destinations around the world as WMC Miami, Techno Tuesday @ Melkweg Amsterdam, Dvor12 Odessa and most private venues in East Australia.
Behind various shades (as VΛNITY CRIME, Houseswingers, Di Saronno, etc.) presents an infinite string of anthemic remixes and reworks for heavyweights like: Depeche Mode, Moby, Tiga, Röyksopp, Basement Jaxx, Kerri Chandler, Todd Terry, Danny Tenaglia, MURK, DJ Sneak, Waze & Odyssey, Phil Weeks, Dennis Ferrer, Robbie Rivera, Eddie Amador, Gene Farris, Erick Morillo, Junior Jack, Michael Gray, Supernova, Ron Carroll, Sharam Jey, Tocadisco, Spartaque, Phunk Investigation, Romanthony, Roland Clark's Urban Soul and many more... Future ahead looks brighter day by day for this charismatic artist.
Goo Goo Dolls: New music and w the industry is exciting again Headliner finds Goo Goo Dolls’creative driving force and songwriting duo, Robby Takac and John Rzeznik in a contemplative mood when we reach them over separate calls to discuss their new rarities collection. Fittingly entitled Rarities and spanning the first 12 of the band’s 30 years (and counting) career, this new compilation is a veritable treasure trove for fans of the band, featuring previously unheard studio outtakes, covers and live performances from 1995-2007. It is not Rarities alone, however, that has prompted the pair to take a rare backwards glance at their time together. Currently working on a new studio record, Takac and Rzeznik have taken something of an artistic sojourn, both literal and figurative, to the place where it all began for them more than three decades ago. . . We are joined first by bassist and vocalist Takac, who calls us from the studio in which the band wrote and recorded some of their earliest material. Located in the Buffalo woods, he describes it as an idyllic retreat for the band, who have decided to return to their roots for what will be their next album, eschewing the trappings of the city to focus solely on making music and recapturing some of the spirit that shaped their formative recordings. “It’s been cool, but I’ve never felt more like a city boy in my life,” Takac laughs with an easy charm, his voice possessed of the kind of weathered, road-worn drawl that only 30 years of rock stardom can provide. “We were sleeping in an old church, the walls were full of interesting things that made noise during the night, there were some animals mangled by hawks left on our porch, deer running through the yard... It was amazing but our band hasn’t been sequestered like that, doing nothing but making a record, for an awful long time. It brings you back to that place when you’re just getting started, when we had nothing else going on. All we had was making music. It’s been decades since then and our lives have progressed in a lot of ways, so it’s great to alleviate as much of the distraction as you can.” Vocalist and guitarist, Rzeznik, concurs on the subject when Headliner speaks to him a few days later. Like his cohort, his is a voice that bears the excesses of a three-decade career, albeit with a tone that floats somewhere between dreamy and meditative. “We went back to the original process,” he explains, elaborating on the decision to adopt a more traditional approach in the studio. “It was really fun and that is how you get to the core of a song, I truly believe that. That said, it’s a bigger pain in the ass than sitting around in these nice, tight writing sessions, but the music has to have some grease – I call it grease – on it, and it has to have some soul to it. You have to get to the heart of what you’re doing.
When you bring a piece of music into a bunch of guys, you’re sharing a really vulnerable moment with those people; I’m scanning the room looking for turned up lips and rolling eyes. But it’s really fun, getting the feedback from the other guys, or hearing a mistake and going, ‘Robby, what the hell did you just play? That was awesome’!” Rzeznik also offers some insight into the technical crossover of old and new methods that underpins the band’s upcoming material. “The recording process itself was a hybrid of digital and analog, but mostly analog,” he continues. ”I wanted to record the album in analog, not because it sounds so much better than digital – which it does, but let’s not go down that rabbit hole! – but because I wanted to limit the number of tracks that we had. I wanted to be able to make decisions. The biggest thing when we started recording digitally was going from having 48 tracks or 24 tracks to having 125 or 300 tracks, so you get these songs that are dense bricks of music and they lack nuance. I may have 17 guitar parts that I think are all really cool but we have to get rid of 15 of them. That loaned itself to a much more open-sounding record. There is a dynamic and breath on the album, which is exciting to me.”
Our lives have progressed in a lot of ways. All we had was music. This period of reflection, both in regard to the band’s creative process and the decision to release a rarities compilation, was provoked in part by the pandemic. For a band as busy as Goo Goo Dolls, with 13 studio albums to their name and a regular fixture on the live circuit, the past 18 months have put their working lives on hold for an unusually lengthy period. So when Rzeznik happened upon a bundle of lost recordings, it offered a new project to embark on and provided the opportunity to keep their fans sated with a new release. “We used to have these things called DAT recordings and we found a closet full of them, but we had nothing to play them on,” Rzeznik recalls. “So I went on eBay, bought a DAT machine and gave it to my manager. He started going through all these old recordings of us, alternate versions of things, live things, and he said there was a lot of interesting stuff. He gave it to me and I was like, ‘this is pretty cool’. There’s a lot of rough stuff on there, which I like. And during the pandemic, for full disclosure, we just wanted to keep putting things out there as much as we could. It was a chance to have a look at a really fun period for this band.” For Takac, the Rarities project presented a way of staying occupied during the uncertainty of lockdown.
why
“It’s been a weird year for everyone, especially people in bands, because our whole existence is shared with this huge group of people,” he says. “And after doing it for so many years, you don’t take it for granted, but you don’t realise what an important part of your life that is. We and the label had a lot of time to reflect on what was going on. We don’t often have time to dig through old boxes of pictures and stuff and Warner Bros was going through their vaults at the time and had a significant amount of things... and there is way more where this came from. So, we felt it was a good time to share some of what we had collected over the years. It was just good to be busy, and a lot of people didn’t have the luxury of staying busy during this time. “As for the selection process, we just reached in, closed our eyes and grabbed a handful. There are so many things we did as special one-offs, and I think that era is one that a lot of people discovered us during. It was a classic period of the band.” While not typically a band predisposed to nostalgic reminiscence, Takac did take pleasure in rediscovering not just some of the music they were making, but also the wildly different headspace they were in at the time. “A lot of the recordings were from radio station appearances, so we could probably do a 40-record box set of acoustic versions of Slide because we have so many,” he laughs. “That was one of the things I was amazed by – how much effort we put into breaking those records. You can hear us singing at 6am on some of them and you can tell we were up all night, because we were throwing down hard back then! We’re teetotallers these days, so it brought back memories of some of those all-nighters that ended up at radio sessions in the mornings. Looking through that vault was a lot of fun. It was a cool walk through time. We don’t do a lot of that with this group, we always move forward and try to worry about what’s next. Maybe we’re superstitious about looking back.”
Having a hit was like hitting the slot machine. Then everyone said 'do it again' In each of Headliner’s conversations with Takac and Rzeznik, talk turns naturally to the vast, incalculable changes that have altered the music industry over the course of their career. While they could scarcely have predicted the incredible success they would go on to achieve when they first started out, the digital revolution that continues to shape and reshape the business would arguably have been even more difficult to foresee. “The internet and the availability of digital services changed everything, I don’t think any of us could have foreseen this,” Takac says. “I’m sitting in the exact same space where we made our first album, and just to think about the difference... If we were lucky, we sold 10,000 copies of that first album, but it took so much to make that record happen, months of getting it together and manufacturing and finding a label. Now these kids come in here, they record a song, and they already have the artwork, they mix it that night and they are uploading it for distribution on the way out of the door. I never thought I’d be having that conversation 30 years ago. It’s an unrecognizable business, but it’s become exciting again.
“There will always be the mainstream of music, and that is awesome because for some people that’s all they need. But now you can find what you want. Bands I’ve never heard of before are selling out the LA Forum. That wouldn’t have happened 20 years ago. Now you can find the music you want and stay away from what you don’t want. It’s an exciting time right now. For a band like us, our fans know where we are. The business is about to make another huge change with NFTs… It feels like a direct outreach to your fanbase and it will all be based on a purchase rather than social media. It just makes it easier.” As for how the band has managed to navigate such immense change and maintain their success, the pair point to hard work and good management from the people they surrounded themselves with. “I didn’t think we were going to last long,” states Rzeznik. “Especially after we had one song that was a hit. For me, having one hit song was like hitting the slot machine, then everyone applauded and said ‘do it again’! And we just kept going and going, that was the key thing. We didn’t get a chance to really celebrate our big success because our manager told us to keep our heads down and that was when the real work started. With that in mind, Robby and I cut loose some dead weight and just got on with our career and really tried to learn and listen to everything and put out as much material as possible.” “We were lucky enough to find people early on who pointed us in a good direction; we were able to keep the vibe we were trying to put out there,” Takac notes. “We’ve formed a huge community of people and they participate and connect with each other. On the other side, you’re not making money selling records anymore so you have to figure out a way to deal with that. Luckily people come to see us play because we have a lot of songs people want to hear, so we’re able to make some money. It’s not that way for some bands and that sucks, but we’ve been able to shift our business model that way. We do a lot more touring – obviously not over the last year. You just make it work.” For now, Takac and Rzeznik are relishing the return of some form of normality to their world. With the release of Rarities and a new studio album in the offing, as well as the gradual return of live music, there will be plenty to keep them busy over the coming months. “We’re going to start a full tour at the beginning of June 2022, but we’re doing a show here and there,” Rzeznik says as we bid our farewells. “Things are starting to open up. We skipped the last summer touring and this summer we’re obviously not out – to take two years out in a row for this band is crazy. We’ve never done that. Mostly because we’re masochists! But we’ll do 110-120 shows a year, and I think that’s the reason we’ve had some longevity. “But it’s nice to have the chance to miss someone. I sat up in the woods for two and a half months with Robby and the band and by the eighth week I was excited to get away from them so I could miss them again!”
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oldplay Is Teaming With BTS on 'My Universe' Single Coldplay's upcoming Music of the Spheres album has added another celestial body to the mix. On Monday (Sept. 13), the group announced that their upcoming single, "My Universe," will feature a funky bilingual collaboration with K-pop superstars BTS.According to a release, the Max Martin-produced song, sung in both English and Korean, will drop on Sept. 24. The track is the follow-up to the band's previous single, the buoyant "Higher Power," both of which will appear on the album due out on Oct. 15. The BTS track will be the third taste of Coldplay's upcoming ninth album, following on the heels of the spacey, 10and-a-half minute "Coloratura," the collection's closing track. Music of the Spheres is the follow-up to their 2019 double album Everyday Life, which led the Official U.K. Albums chart and peaked at No. 7 on the Billboard 200. It also received a surprise Grammy nomination for album of the year, its first nod in that category in 12 years. Chris Martin and co. announced the album on Tuesday via a handwritten note on their Twitter account, along with a cosmic album visual, Overtura, on YouTube.
BTS and Coldplay singer Chris Martin recently sat down to chat about the Kpop septet's summer smash "Permission to Dance" on YouTube Originals' "Released" series. The K-pop septet has recently been participating in high-profile collaborations. Their most recent one was alongside rapper Megan Thee Stallion, who hopped on a remix of their hit single "Butter" on Aug. 27.
#MyUniverse // Coldplay X BTS // September 24th // Pre-order & pre-save now via link in bio // ❤@bts.bighitofficial