Latest news with #Soundcloud
Yahoo
4 days ago
- General
- Yahoo
Listen to the eerie sounds of Mars recorded by a NASA rover
A NASA rover ambling over the red desert planet for the past four years has been recording audio of Mars. In this alien world 156 million miles away in space, even the everyday whispers of wind and mechanical parts are exotic to human ears. Scientists say that's because the Martian atmosphere is about 1 percent as dense as Earth's, which alters the volume, speed, and characteristics of sound. How to describe what Perseverance has heard at Jezero crater? Well, it doesn't not sound like the eerie ambient noise of Stanley Kubrick's 2001: A Space Odyssey, but you can listen for yourself. Like an aspiring DJ or singer-songwriter, Perseverance has a Soundcloud account, where people can experience the latest Martian tracks. NASA shared this week some of the strange audio the rover has captured. You can find a sampling further down in this story. SEE ALSO: A NASA Mars rover looked up at a moody sky. What it saw wasn't a star. Credit: NASA / JPL-Caltech illustration When the rover touched down on Mars in 2021, it didn't just bring cameras, drills, and tubes for rock samples. It also carried two microphones — nothing special, just a couple of off-the-shelf devices anyone could buy online. The only modification NASA made was to attach little grids at the end of the mics to protect them from Martian dust. One of the microphones, mounted on the rover's head, is known as the SuperCam and has recorded most of the audio; another is attached to the body. What they've picked up is changing the way scientists think about the Red Planet. This is the first time humanity has ever been able to listen to the din of another world. "We've all seen these beautiful images that we get from Mars," said Nina Lanza, a Los Alamos National Laboratory scientist, in a NASA video, "but having sound to be able to add to those images, it makes me feel like I'm almost right there on the surface." NASA shared Martian audio in the above post on X. Researchers published the first study of acoustics on Mars in the journal Nature, based on Perseverance's recordings, in 2022. Apparently, the Red Planet is a much quieter place than originally thought, and not just because it's unpopulated. It's so silent, in fact, there was a time the rover team believed the mics had stopped working. But Perseverance just wasn't getting much material from its surroundings. That's largely due to Mars' low-atmospheric pressure, though the pressure can vary with the seasons. The team studying these sounds found that Mars' thin air, composed mostly of carbon dioxide, makes sound waves behave differently. On Earth, sound travels at roughly 767 mph. On Mars, deeper pitches move at about 537 mph, with higher ones traveling a bit faster, at 559 mph. The thin atmosphere also causes sound to drop off quickly. A sound that could be heard from 200 feet away on Earth falls silent after 30 feet on Mars. Higher-pitched tones have an even shorter range. The microphones mounted to Perseverance are off-the-shelf devices anyone could buy off the internet. Credit: NASA / JPL-Caltech "Sounds on Earth have very rich harmonics. You can hear multiple frequencies. It gets a really nice depth to the sound," said Justin Maki, a NASA scientist, in a video. "On Mars, the atmosphere attenuates a lot of those higher frequencies. So you tend to hear the lower frequencies, and it's a much more isolated sound, a little more muted than the sounds we hear on Earth." With this data, scientists have learned that some of their earlier models for how they thought sound should move on Mars missed the mark. "The Martian atmosphere can propagate sound a lot further than we thought it could," Lanza said. Translation: The Red Planet can literally carry a tune.
Yahoo
28-05-2025
- Entertainment
- Yahoo
Ye And YoungBoy Never Broke Again Link Up For New Single 'Alive'
The only thing comparable to Ye's frequent controversial statements has been his sporadic music releases. The artist formerly known as Kanye West linked up with YoungBoy Never Broke Again this week for their new single 'Alive.' The track initially follows his recent string of unconventional releases, as it was not available on traditional streaming platforms. Instead, fans could only listen via a post on his Instagram account on Wednesday (May 21) or the several audio rips floating around the internet. On Thursday morning (May 22), he shared an Apple Music link for the record on X. 'This that ni**as been stealin' the swag, they know damn well they ain't invent/ This that ni**as ain't rich, they broke, want a blessing and they ain't even repent,' he raps to open the chaotic track. It is devoid of drums and snares production-wise, and rather loaded with rough, white noise-esque synths. 'I'll put the bi**h on and blick 'em, them youngins gon' load up and get 'em, they catch em and stretch 'em/ .223, it ain't missin' a beat, we gon' pray up to Heaven and step in eleven,' YoungBoy belts in his verse. Notably, the record samples DJ Swamp Izzo's 'Alive,' which was also recently flipped by Playboi Carti on 'Crank' from his latest album, Music. The 'Alive' sample is an interesting detail given Ye and Playboi Carti's current relationship, or lack thereof. The Chicago producer has frequently expressed his disdain for the enigmatic rapper ever since he was left off of the recent LP while Kendrick Lamar got three separate features. Things got even deeper when he learned that Carti had been trying to work on a song with his daughter North, and Kim Kardashian seemed willing to let it happen despite taking issue with Ye putting her on a song with Diddy. In an act of pettiness, the 'Timeless' artist shared his version of 'Alive' featuring YoungBoy Never Broke Again without the multi-time Grammy winner. In a now-deleted post on his Opium account, he wrote, 'DIS MY SONG LIL BRA @ye.' The record was accompanied by a full music video, which may mean that West had underhandedly tried to beat Carti to the punch and put out his version first. Ye's 'Alive' follows his controversial 'Heil Hitler,' which has been removed from X and Soundcloud seemingly due to its problematic content. He has also teased his forthcoming record 'Cousins,' where he opens up about sexual activity with a relative, along with his upcoming album Cuck. More from Kai Cenat Irritated By Fan Crashing AMAs Livestream To Praise Ye Playboi Carti Calls Out Ye For Sampling Song Without His Permission Ye Asks For God's "Forgiveness," Says He's Done With Antisemitism
Hypebeast
27-05-2025
- Entertainment
- Hypebeast
Playboi Carti: Behind the "MUSIC"
When the people at Hypebeast asked me to write an essay on Playboi Carti and explained that it would run opposite a series of original photos, the notion that there would be new portraits of the nearly skeletal 29-year-old auteur draped in fabrics sure to be billowy, expertly chosen, and astronomically expensive was almost unbelievable. For someone whose influence is so ubiquitous, Carti himself is strangely scarce. Few musicians have his interest in or eye for fashion; fewer still can tweak and twist their bodies in such a way that can seem at turns vampiric or downright pellucid. And, somehow, it seems odd that we would be able to capture an image of the man at all. His white-hot masterpiece, Whole Lotta Red , is without question the defining rap record of the decade so far—the common ancestor for a half-dozen different subgenre offshoots and many more careers. The particular way he conflates ad-libs and main vocal tracks, the de- and reconstruction of language within his verses, even the irrepressible energy he projects in his frequent stage-whisper asides have become a lingua franca for otherwise divergent groups of young rappers all the way from Carti's native Atlanta to the far reaches of Scandinavia. Until now, WLR , released on Christmas of 2020, was his most recent studio LP. Even his smattering of excellent follow-up singles were mostly kept off of digital streaming platforms, leaving vultures to pick at carcasses strewn across YouTube, Soundcloud, and Instagram Live. And so the vacuum was filled by rumors: Carti is in Toronto; he's back home in Atlanta; he's at the top of one of the more serpentine roads in the Hollywood Hills; he's holed up in a cave near Paris like a bat that owns a lot of Rick Owens. Producers hint in interviews that they've been brought in to help him flesh out a new sound, or refine an old one. Release dates for a Whole Lotta Red sequel come and go, come and go. Pre-order links and whispers of tour plans vaporize almost as soon as they appear. A friend summarizes the phenomenon best, posting a picture of a still-standing World Trade Center to his Instagram story with the caption '9/11 if Carti said it was happening.' Then, at once, the wait was over. In the early-morning hours of March 14th, MUSIC (more often referred to by the title Carti had teased, I AM MUSIC ), finally materialized—30 tracks that run more than 75 minutes but do not sprawl so much as move in concentric circles, spending most of their orbit in the half-decade of hip-hop that Carti shaped, then poking, at least intermittently, into the unknown. It's at moments eerily familiar and at others truly alien. MUSIC seems, at the time of this writing, like a pulse that will jab Carti into the true main vein of pop culture: a run supporting The Weeknd on his stadium tour will surely be followed by a swath of solo headlining dates; the merch will be inescapable; the LP will dictate even the parts of summer radio programming that it does not itself comprise. And yet, instead of each new discrete moment of exposure bringing Carti more fully into view, they instead seem to make him more opaque. This is not a file of surveillance videos—imagine instead a stack of transparency sheets from an old overhead projector, slightly askew such that the borders blur and the details grow fuzzy. He's here. He isn't. Carti was born the day 2Pac died: September 13th, 1996. (That this became something of a joke on the rap internet speaks to both the reverence with which fans almost immediately treated Carti and the way real-world tragedy now effortlessly collapses into ones and zeroes.) He was raised in South Atlanta, began uploading tracks to Soundcloud in his early teens, then kicked around the fringes of Awful Records and the A$AP Mob, respectively, before and after a move to New York City. In short order, he was signed to Interscope Records just as the major labels were becoming newly flush with streaming cash. Even then, he was elusive. Fans — young, largely male, hyperfluent in the language and symbology of the internet — clamored for the release of songs that were previewed in vanishingly brief snippets and lived (until Interscope was ready to issue them) under a variety of titles and in wildly unpredictable fidelity, on YouTube and what was left of the old file-sharing networks. Across rap's history, this bureaucratic purgatory has ensnared a shocking amount of great music, held up due to clearance issues, executive apathy, or any number of other factors. Whatever the animating force might have been, for Carti, the ephemerality seemed to become part of the larger project. In the spring of 2017, his debut mixtape — the cover art for which is, aptly, the same photo produced twice over — embraced the sense that a whole style, even a radically new one, could be assembled with what seemed to be the auxiliary elements of old ones. Playboi Carti was led and characterized by 'Magnolia,' the minimal, menacing Pi'erre Bourne-produced single that had long rattled around message boards and Twitter group chats, usually titled some variation of 'Hide It In My Sock.' The song builds tremendous momentum despite, or perhaps because of, the fact that most of the vocals could be mistaken for things Carti would mumble in the booth as he was clearing his throat while preparing to rap in earnest. The self-titled release was followed just a year later by Carti's 'debut' album (a meaningless contractual distinction), Die Lit . This time Bourne handled an even greater share of the production, which helped thread together an array of songs that, without the hint of a shared sonic syntax and such careful sequencing, could otherwise be read as a string of disconnected genre experiments. Like his early collaborator, Lil Uzi Vert, Carti took to describing himself as a rockstar: stage diving on the album cover and making the mosh pits/broader chaos of his live shows not just the organizing logic for his songs, but often their very text. The two-and-a-half years between Die Lit and Whole Lotta Red were defined by a series of leaks, canonized almost immediately by his increasingly cultish fanbase. (There are metrics by which Carti's Yung Nudy collaboration — unfortunately titled 'Pissy Pamper' and never properly released — could be seen as one of the most significant songs of the late 2010s.) Carti's opacity is such that it's unclear whether these leaks caused significant delays and/or wholesale changes in aesthetic direction, or were simply excised from an otherwise static album-in-progress. In any event, the wait for WLR bred comic levels of impatience, only to be rewarded with a staggering work of sonic and emotional dynamics. Doing away with the primary-producer model, Carti roped in a cadre of newcomers, including F1lthy, widely credited as one of rage rap's forefathers. The result is something that sounds, when it isn't so heavy as to bludgeon a skull, like a buzzsaw cutting through a GameBoy Advance. That Christmas, I reviewed WLR for Pitchfork, where it was stamped with the prestigious Best New Music seal. To this day, I get messages from strangers who are livid with me for the score itself (8.3) being, in their estimation, not high enough. In Carti's absence, Whole Lotta Red has only grown more essential — a Rosetta Stone for five years of experimentation and refinement, influencing an entire industry's worth of rappers and producers. Imagine, again, that stack of projector transparencies. Now imagine them being peeled away, one by one, by artists and A&Rs who would go on to build entire songs, albums, and even careers off of a single element of that record. Naturally, the alchemy has not been recreated; where imitators have pulled strings one at a time, Carti makes marionettes milly rock. Fitting, since the puppeteer spends most of his time off stage. The drought between Whole Lotta Red and MUSIC made it seem like the prior gaps in Carti's catalog had been mere blips. This time, the signal-flare promo singles were released with more evident intention, but still held off of DSPs. Fans cataloged Carti's every move with familiar diligence, but a new nihilism had set in: the album, the tour, the next round of merch — none of it was ever coming, they joked. He's in Houston, now, or maybe London; he's in Marrakech; he's in the studio with Pi'erre again; he's trying new designer drugs with Kanye; he's bulking up for Milan's fashion week; he's slimming down for New York's. What was clear, however, was that he was rapping with as much force and intuition as ever, his vocal elasticity, uncanny sense of rhythm, and slyly outré imagery in perfect ensemble. See 'Different Day,' which is delivered like a breathless, middle of-the-night account of a terrible dream; see 'H00DBYAIR,' which, mercifully, made the final cut and imagines that the creative explosion of circa-2014 Atlanta rap took place, instead, in hell. MUSIC is not the paradigm-warping force that Whole Lotta Red was, either for Carti or for rap writ large. It ingests and spits out far more varied and interesting sounds than just the rage and rage-adjacent rap that exists in WLR 's wake, but the sound palette, tempos, and guiding sensibilities are similar enough that you'd expect it to be received as an extension rather than reinvention. And while it justifies its length and seldom drags, the LP as a whole lacks the inevitable, irreducible quality of its best songs, letting MUSIC drift, at times, dangerously close to .zip file territory. Fortunately, even when caught flat-footed, Carti is able to collect himself and exert almost unbelievable amounts of gravity. The relative retread 'OLYMPIAN' is salvaged immediately by 'OPM BABI,' a delirious inversion of soul-sample song mechanics. That the A list features (Future, The Weeknd, Travis Scott, Kendrick Lamar) are almost superfluous only underscores Carti's marquee status. If not uniformly engrossing, MUSIC is at least frequently hypnotic. Sometimes it even makes that bent toward hypnosis literal: On 'Cocaine Nose,' what sounds like the chirp from a W. Bush-era Nextel phone echoes under the chorus, like a sonar looking for Instagram models. That's far from the only relic of the past that Carti repurposes here. DJ Swamp Izzo, a fixture on the mixtape circuit that helped break many of those same 2014-vintage Atlanta artists, hosts MUSIC , his bark littering tracks and injecting them with his frantic, towel-me-off urgency. But contrary to what he says at the beginning of 'Munyun,' you do not have to be living 'under a rock' to be unfamiliar with him — you might simply be under 30. This plays differently than when, for his 2021 album Call Me If You Get Lost , Tyler, the Creator enlisted DJ Drama to host and cast the LP as a mixtape from his Gangsta Grillz series. Where Tyler was mining nostalgia, Carti seems more interested in collapsing time altogether. In this process of collapsing time, he also dubiously revives the soft fuzz of early 2010s popular EDM. MUSIC is often as delirious as Whole Lotta Red , but it is seldom as heavy. Carti could never be accused of complacency, but there are stretches of MUSIC where he never quite reaches a point of catharsis or release. While there's 'Cocaine Nose,' as well as explicit reference to molly, it's ketamine — the original title of a song that appears here as 'K Pop' — that is probably the most apt drug analog, known for its soft and dissociative effects. On 'Fine Shit,' the chorus's final line ('Don't say you'll die for me, lil' bitch, just die') sounds less like a dare or provocation and more like permission to embrace a long-awaited conclusion. And still, MUSIC is too idiosyncratic to stay forgettable. The stabs of choral vocals that punctuate 'Crush.' The flitting between vocal registers on 'Rather Lie.' The way he contorts his vocals around Kendrick's ad-libs on 'Mojo Jojo' to make it sound like the LA legend is simply another one of his alter-egos. All of these flourishes make the album, immediately and obviously, unlike dispatches from any of his peers or his children. When he quips, also on 'Mojo Jojo,' that he has 'a house… everywhere,' the hitch in his delivery alone conveys more personality than many allegedly career-defining singles. Speaking of defining a career: Despite those ties to the past, and despite its title, MUSIC makes little attempt to encompass Carti's entire time in the public eye. Not that it should — his appeal has always been tied up in the sense that he was rap's creative vanguard, always moving forward, sketching out blueprint specs for those who would follow him. Having achieved that sort of clairvoyance on his last record, it's natural that fans would look to Carti's new one for what rap might sound like as we inch toward 2030. Instead, he seems more interested in scrambling the source code for what currently populates our feeds, making the smooth, infinite scroll slightly more jagged. Toward that end, even the cadences that sound borrowed from Carti's contemporaries are given new lilts, a different bounce; this is not a new language, but a reminder of the still-untapped potential of one we've already learned. After all, MUSIC is ultimately an exercise in synthesis. Creative Direction / Styling by Rose Marie Johansen. Consultant: Katja Horvat. Production: DIVISION. EP: Alice Wills. Stylist Assistant: Donya Hodge. Lighting Director: Darren Karl-Smith. Post-Production House: Hand of God. Production Service: North of Now Films. Special Thanks: Erin Larsen and Jules de Chateleux
Scottish Sun
20-05-2025
- Entertainment
- Scottish Sun
New song based on real-life heart rate of winning bingo player revealed for first time
FULL HOUSE New song based on real-life heart rate of winning bingo player revealed for first time Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) An upbeat new house track has been released – based on the real-life heart rate of a bingo player the moment they land a full house. DJ Fish56octagon teamed up with Mecca Bingo to create the house music track, which has been engineered to recreate the excitement of winning every time you hit play. Sign up for the Entertainment newsletter Sign up 3 An upbeat new house track has been released Credit: Mecca Bingo 3 DJ Fish56octagon teamed up with Mecca Bingo Credit: Mecca Bingo The house track runs at 128BPM – the heart rate measured at the exact moment a bingo player completed their ticket and won the game. Called ''FULL HOUSE'', it's packed with tension-building beats and euphoric highs to mirror the thrill of a jackpot call and the bingo experience. It features pulsing bass lines which builds anticipation with the sound of rushing blood heightening suspense, set against the celebratory clink of glasses. The song, which is available on Soundcloud crescendos into a euphoric, chest-thumping cry of 'house', followed by a classic music drop with bingo calls woven throughout. Fish56octagon is renowned for his viral house mixes and signature at-home dressing gown DJ sessions that have earned him over a million followers. He said: 'Innovation is everything in music - you've got to keep surprising people, and blending the tension of bingo with the classic build and drop of house felt like the perfect crossover. 'I wanted to capture that electrifying moment when the numbers are dabbed off and you know you've won - it's a proper rush, and that's what this track is all about. 'House music thrives on that feeling of anticipation and release, and so does bingo - it's all about the buzz before the drop, or the call that matches your final number. 'We hope this track brings that same energy, whether you're on the dancefloor, dabbing numbers, or soaking up the summer sunshine.'' Professor Dan Augustine, medical director at Sports Cardiology, who analysed the heart rate data used to design the track, explained: 'We often associate a racing heart with physical exertion, but our experiment shows that the excitement, anticipation and tense nature of a bingo game can trigger the same response. 'A game of bingo can activate a 'fight or flight' mode - which releases adrenaline and raises heart rate, even in the absence of movement. 'As a result, in that 'full house', winning moment, our lucky player's heart rate surged by a whopping 33 per cent - reaching 128 BPM.'' A study of 2,000 adults commissioned by Mecca Bingo revealed that music taste shifts in summer for 28 per cent. With 41 per cent leaning towards feel-good anthems and 25 per cent craving high-energy, upbeat tunes that match the sunny vibe. Turns out house music one the go-to genre for 23 per cent of 18-34 year old – and of those as many as 76 per cent say it gives them a 'winning feeling', like something brilliant is just around the corner. While more than a third (34 per cent) young fans of house crank it up when doing chores. Almost four in 10 (39 per cent) say it's their soundtrack for smashing gym workouts, while it's the kitchen companion for 29 per cent of the young adults when cooking. And one in five (21 per cent) added a good house tune makes them feel completely unstoppable. A spokesperson from Mecca Bingo said: 'The biggest moment in bingo is undoubtedly when players shout 'House!'' to claim a big jackpot prize, so we wanted to capture that winning feeling in a dance track. 'By combining two classics - bingo and house music - we've created something that celebrates the thrill of the win in an entirely new way.'
Daily Mirror
20-05-2025
- Entertainment
- Daily Mirror
New house track created to give exactly the same feeling as winning at bingo
DJ Fish56octagon teamed up with Mecca Bingo to create the house music track, which has been engineered to recreate the excitement of winning every time you hit play Bingo beats are the latest craze hitting the club scene, as DJ Fish56octagon teams up with Mecca Bingo to launch a new house track that pulses with the real-life heartbeat of a bingo winner. The new track titled 'FULL HOUSE' embodies the rush of triumph in bingo, syncing to a heart-thumping 128 beats per minute – matching the winner's excitement at bingo victory. Expect a whirlwind of tension-building rhythms and peaks of elation, echoing the nail-biting moments of scoring a full house, all rolled into this distinctive tune. With atmospheric layers of bass that mimic the heightened pulse of winning and the sound of clinking glasses bringing celebration vibes, this song aims to encapsulate the bingo buzz. Available now on Soundcloud, 'FULL HOUSE' takes you on a musical journey through the euphoric shouts of "house" intertwined with rhythm driven bingo calls for the ultimate dance floor filler. Known for his wildly popular home DJ sessions wrapped in a dressing gown, Fish56octagon has garnered a loyal fanbase of over a million online followers with his viral house mixes. In his own words: "Innovation is everything in music - you've got to keep surprising people, and blending the tension of bingo with the classic build and drop of house felt like the perfect crossover." Seeking to replicate the electrifying moment of nailing that winning number, he added: "I wanted to capture that electrifying moment when the numbers are dabbed off and you know you've won - it's a proper rush, and that's what this track is all about. "House music thrives on that feeling of anticipation and release, and so does bingo - it's all about the buzz before the drop, or the call that matches your final number."We hope this track brings that same energy, whether you're on the dancefloor, dabbing numbers, or soaking up the summer sunshine.''"We hope this track brings that same energy, whether you're on the dancefloor, dabbing numbers, or soaking up the summer sunshine.'' Professor Dan Augustine, medical director at Sports Cardiology, who analysed the heart rate data used to design the track, explained: "We often associate a racing heart with physical exertion, but our experiment shows that the excitement, anticipation and tense nature of a bingo game can trigger the same response." "We hope this track brings that same energy, whether you're on the dancefloor, dabbing numbers, or soaking up the summer sunshine.''"A game of bingo can activate a 'fight or flight' mode - which releases adrenaline and raises heart rate, even in the absence of movement. As a result, in that 'full house', winning moment, our lucky player's heart rate surged by a whopping 33 per cent - reaching 128 BPM.'' A survey commissioned by Mecca Bingo involving 2,000 adults revealed that 28% of people experience a shift in their music taste during the summer. With 41% leaning towards feel-good anthems and 25% craving high-energy, upbeat tunes that match the sunny vibe. It appears that house music is the preferred genre for 23% of 18-34 year olds – and of those, as many as 76% say it gives them a 'winning feeling', like something brilliant is just around the corner. While more than a third (34%) of young fans of house music turn up the volume when doing chores. Almost four out of 10 (39%) claim it's the perfect music to boost their gym sessions, while for 29%, it's the ideal accompaniment when cooking up a storm in the kitchen. Moreover, one-fifth (21%) revealed that a great house track leaves them feeling invincible. According to a spokesperson from Mecca Bingo: "The biggest moment in bingo is undoubtedly when players shout "House!'' to claim a big jackpot prize, so we wanted to capture that winning feeling in a dance track. By combining two classics - bingo and house music - we've created something that celebrates the thrill of the win in an entirely new way."
