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Brighton-based DJ and producer Braxton returns to Anjunadeep with his three-track EP ‘SpaceTime’.
Since his debut on Anjunadeep with ‘When The Sun Goes Down’, Braxton has been steadily earning a reputation in the dance scene as a formidable producer, with a number of solo production including his recent release with Lauren L’aimaint ‘Holding On’, and remixes for the likes of RÜFÜS DU SOL, Tourist and Grades that have won him support from BBC Radio 1 and Sirius XM.
A fan favourite from the label’s flagship compilation Anjunadeep 13, Braxton teams up with Jody Wisternoff & James Grant on ‘SpaceTime’, featuring vocals from Ursula Rucker. ‘The River’ features a bold bass and lush pads whilst EP closer ‘(Don’t) Wake Me Up’ leads with break beat drums characterstic to Braxton’s sound. Braxton’s latest EP demonstrates why he’s been supported by Eelke Kleijn, Sasha and Eli & Fur.
Release Date: 30th May 2022
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Facts About Music Production and Distribution
Philosophers have differed widely on what constitutes “music.” Immanuel Kant, for example, considered music the lowest of the arts. While music without words may be conceptually valuable, he disapproved of its simplicity. Another prominent philosopher, Georg Wilhelm Friedrich Hegel, extolled the power of art to create and share ideas. While he detested wordless music, he defended its fundamental mathematical principles and argued that it reflected the rhythm of nature.
Although the U.S. still produces a large portion of global music, the U.S. is highly geographically dispersed. Hip hop, for instance, originated in New York in the 1970s, while the first rock’n’roll song was recorded in Memphis in the early 1950s. Because most genres began in the U.S., it can be difficult to assess U.S. music from afar. Local music genres, however, are widely distributed across the world.
Cassette tapes emerged in the mid-1960s and were the foundation for the 1980s’ music culture. Cassette tapes were inserted into car stereos, boom boxes, and Walkmans to record songs from the radio. Many users also dub records. As a result, mix tapes – also known as’mix tapes’ – became an important trademark of the era’s portable music.
As the world has become more digitally connected, music has become even more personal. No longer is music dependent on radio DJs, and listeners have more control over what they hear. New technologies have also altered the way music is produced and distributed. Once viewed as a commodity for the record industry, musicians can now connect directly to fans. This is good news for artists, but it also brings some challenges. Despite the many challenges this poses, music continues to be a powerful tool for the creation of social change.
