MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Yap or Wa′ab traditionally refers to an island located in the Caroline Islands of the western Pacific Ocean, a part of the Federated States of Micronesia. The name "Yap" in recent years has come to refer to the state within the Federated States of Micronesia, inclusive of the Yap Main Islands and its various outer islands; the Yap Main Islands are considered to be made up of four separate islands: Yap Island proper, Gagil-Tamil and Rumung. The four are contiguous, though separated by water, are surrounded by a common coral reef, they are formed from an uplift of the Philippine Sea Plate, are referred to as "high" islands as opposed to atolls. The land is rolling hills, densely vegetated. Mangrove swamps line much of the shore, although there are beaches on the northern sides of the islands. Excluding the reef area, Yap is 24 km long, 5–10 km wide, 98 km2; the highest elevation is 178 m at Mount Taabiywol in Fanif municipality on Yap island proper. The Yapese people's indigenous cultures and traditions are strong compared to other states in Micronesia.
Colonia is the capital of the State of Yap which includes the Yap Main Islands and the Yap Neighboring Islands—the outer islands reaching to the east and south from the Yap Main Islands for some 800 km, namely the atolls of Eauripik, Faraulep, Ifalik, Ngulu, Piagailoe, Sorol and Woleai, as well as the islands of Fais and Satawal. A tributary system existed between the Neighboring Islands and the Yap Main Islands; this related to the need for goods from the high islands, including food, as well as wood for construction of seagoing vessels. In 2000 the population of Colonia and ten other municipalities totalled 11,241; the state has a total land area of 102 km2. A 13th century account states that the sultan of Egypt called to his aid the Admiral of the Dry Tree, a mystical land of the border of the Persian empire, in whose land the only currencies were millstones; the only region of which this is true is the Caroline Islands with their stone money. The first recorded sighting of Yap by Europeans came during the Spanish expedition of Álvaro de Saavedra in 1528.
Its sighting was recorded by the Spanish expedition of Ruy López de Villalobos on 26 January 1543, who charted them as Los Arrecifes. At Yap, the Villalobos' expedition received the same surprising greeting as in Fais Island from the local people approaching the ships in canoes: "Buenos días Matelotes!" in perfect sixteenth-century Spanish evidencing previous presence of the Spaniards in the area. The original account of this story is included in the report that the Augustinian Fray Jerónimo de Santisteban, travelling with the Villalobos' expedition, wrote for the Viceroy of New Spain, while in Kochi during the voyage home. Yap appeared in Spanish charts as Los Garbanzos and Gran Carolina. From the 17th century until 1899, Yap was a Spanish colony within the Captaincy General of the Philippines of the Spanish East Indies; the Spanish used Yap Island as a prison for those captured during the Philippine Revolution. After the defeat against the United States in 1898 and subsequent loss of the Philippines, Spain sold these islands and its other minor Pacific possessions to Germany.
Yap was a major German naval communications center before the First World War and an important international hub for cable telegraphy, with spokes branching out to Guam, Rabaul and Manado. It was occupied by Japanese troops in September 1914, passed to the Japanese Empire under the Versailles Treaty in 1919 as a mandated territory under League of Nations supervision. US commercial rights on the island were secured by a special US-Japanese treaty to that effect, concluded on 11 February 1922. In World War II, Japanese-held Yap was one of the islands bypassed in the U. S. "island-hopping" strategy, although it was bombed by U. S. ships and aircraft, Yap-based Japanese bombers did some damage in return. The Japanese garrison comprised 4,423 IJA men under the command of Colonel Daihachi Itoh and 1,494 IJN men. At the end of World War II, Yap was occupied by the U. S. military victors. The U. S. held it and the rest of the Caroline Islands as a trusteeship under a United Nations mandate until 1986. In that year, Truk and Kosrae formed the independent nation of the Federated States of Micronesia.
Under a Compact of Free Association with the United States, Micronesian citizens and goods are allowed entry into the U. S. with few restrictions. American Peace Corps has been active in Yap since 1966. Other US-based non-profit organizations, including Habele, have an ongoing presence on both Yap proper and its outer islands, aimed at reducing educational disparities and inequalities in access to effective classroom instruction. Yap is known for its stone money, known as Rai, or Fei: large doughnut-shaped, carved disks of calcite, up to 4 m in diameter; the smallest can be as little as 3.5 centimetres in diameter. Many of them were brought from other islands, as far as New Guinea, but most came in ancient times from Palau, their value is based on its history. The Yapese valued the disks because the material looks like quartz, these were the shiniest objects available; the stones became legal tender and were mandatory in some payments. The value of the stones was kept high due to the difficulty and hazards involved in obt
Shuhada' Davitt is an Irish singer-songwriter who rose to fame in the late 1980s with her debut album The Lion and the Cobra. As Sinéad O'Connor, she achieved worldwide success in 1990 with a new arrangement of Prince's song "Nothing Compares 2 U". Since while maintaining her singing career, she has encountered controversy due to her statements and gestures—such as her ordination as a priest despite being a woman with a Roman Catholic background—and her expressed views on organised religion, women's rights and child abuse. In addition to her ten solo albums, her work includes many singles, songs for films, collaborations with many other artists, appearances at charity fundraising concerts. In 2017, O'Connor said. On converting to Islam in 2018, she changed it again to Shuhada' Davitt. O'Connor was born in Glenageary in County Dublin and was named after Sinéad de Valera, wife of Irish President Éamon de Valera and mother of the doctor presiding over the delivery, Saint Bernadette of Lourdes, she is the third of five children, sister to novelist Joseph, Eimear and Eoin.
Her parents are Sean O'Connor, a structural engineer turned barrister and chairperson of the Divorce Action Group, Marie O'Connor. In 1979 O'Connor went to live with her father and his new wife. At the age of 15, her shoplifting and truancy led to her being placed for eighteen months in a Magdalene Asylum, the Grianán Training Centre run by the Order of Our Lady of Charity. In some ways, she thrived there in the development of her writing and music, but she chafed under the imposed conformity. Unruly students there were sometimes sent to sleep in the adjoining nursing home, an experience of which she commented, "I have never—and will never—experience such panic and terror and agony over anything."O'Connor in June 1993 wrote a public letter in The Irish Times which asked people to "stop hurting" her: "If only I can fight off the voices of my parents / and gather a sense of self-esteem / Then I'll be able to REALLY sing..." The letter repeated accusations of abuse by her parents as a child which O'Connor had made in interviews.
Her brother Joseph defended their father to the newspaper but agreed regarding their mother's "extreme and violent abuse, both emotional and physical". Sinead said that month, "Our family is messed up. We can't communicate with each other. We are all in agony. I for one am in agony." One of the volunteers at Grianán was the sister of Paul Byrne, drummer for the band In Tua Nua, who heard O'Connor singing "Evergreen" by Barbra Streisand. She recorded a song with them called "Take My Hand" but they felt that at 15, she was too young to join the band. Through an ad she placed in Hot Press in mid-1984, she met Colm Farrelly. Together they formed a band called Ton Ton Macoute; the band moved to Waterford while O'Connor attended Newtown School, but she soon dropped out of school and followed them to Dublin, where their performances received positive reviews. Their sound was inspired by Farrelly's interest in world music, though most observers thought O'Connor's singing and stage presence were the band's strongest features.
O'Connor's time as singer for Ton Ton Macoute brought her to the attention of the music industry, she was signed by Ensign Records. She acquired an experienced manager, Fachtna O'Ceallaigh, former head of U2's Mother Records. Soon after she was signed, she embarked on her first major assignment, providing the vocals for the song "Heroine", which she co-wrote with U2's guitarist The Edge for the soundtrack to the film Captive. O'Ceallaigh, fired by U2 for complaining about them in an interview, was outspoken with his views on music and politics, O'Connor adopted the same habits, she retracted her IRA comments saying they were based on nonsense, that she was "too young to understand the tense situation in Northern Ireland properly". Her first album The Lion and the Cobra was "a sensation" when it was released in 1987 and it reached gold record status and earned a Best Female Rock Vocal Performance Grammy nomination; the single "Mandinka" was a big college radio hit in the United States, "I Want Your" received both college and urban play in a remixed form that featured rapper MC Lyte.
In her first US network television appearance, O'Connor sang "Mandinka" on Late Night with David Letterman in 1988. The single "Troy" was released as a single in the UK, the Netherlands, where it reached number 5 on the Dutch Top 40 chart.. O'Connor named Bob Dylan, David Bowie, Bob Marley and the Banshees and The Pretenders as the artists who influenced her on her debut album. In 1989 O'Connor joined The The frontman Matt Johnson as a guest vocalist on the band's album Mind Bomb, which spawned the duet "Kingdom of Rain", her second album – 1990's I Do Not Want What I Haven't Got – gained considerable attention and positive reviews: it was rated "second best album of the year" by the NME. She was praised for her original songs, she was noted for her appearance: her trademark shaved head angry expression, sometimes shapeless or unusual clothing. The album I Do Not Want What I Haven't Got featured Marco Pirroni and Kevin Mooney, of Adam and the Ants fame, contained her international breakthrough hit "Nothing Compares 2 U", a song written by Prince and recorded and released by a side project of his, The Family.
Hank Shocklee, producer for Public Enemy, remixed the album's next single, "The Emperor's New Clothes", for a
Asian Dub Foundation
Asian Dub Foundation is an English electronica band that combines the musical styles rapcore, dub and ragga. The group includes traditional rock instruments such as electric bass and guitar, which acknowledges a punk rock influence, their music is known for its dub-inspired basslines, guitar parts inspired by the traditional Indian instrument the sitar, fast rapping. Asian Dub Foundation was formed in summer 1993 from an education workshop run by Aniruddha Das and assisted by John Pandit, attended by rapper Deeder Zaman; this early line-up released the sound-system based Conscious EP in late 1993 on Nation Records. Guitarist/programmer Steve Chandra Savale was invited to join in early 1994 and ADF became more of a band format. Sanjay Tailor DJ soon after; this completed the full live line-up of the band and their debut album Facts and Fictions was released in late 1995, following the single "Rebel Warrior". Not known in a UK music scene focused on Britpop, the band toured in mainland Europe and gained a substantial following in France where their French-only release R.
A. F. I. Sold 100,000 copies. In early 1997 the band was signed by London Records, their British profile was upped by the support of Primal Scream with whom the band began to tour regularly. Their second album Rafi's Revenge combined punk energy with a jungle/reggae core and was nominated for a Mercury Prize; the single "Naxalite" was an ode to the militant Naxalite movement in India. Tours to the United States and Japan followed, their following album, Community Music, developed their sound further and received a 10/10 review in NME. In 2000, ADF played a slot on Glastonbury Festival's Pyramid stage. At the end of 2000, Deeder Zaman announced his plans to go solo, his last gig being at Alexandra Palace alongside Primal Scream and Ian Brown, their first project of 2001 was an attempt to create a live re-score of Mathieu Kassovitz's film La Haine at the Barbican Centre's "Only Connect" festival in London. The gig was sold out and received critical praise from Max Bell and Steven Wells, they did the piece again by invitation of David Bowie at his South Bank Meltdown Festival in 2002.
The band went to Brazil to collaborate with community activist Afro-Reggae with new band members MC Aktarv8tr, Spex MC, Rocky Singh, Prithpal Rajput. In 2002, Pandit G was awarded the MBE for "services to the music industry" in relation to his work with Community Music, he declined the award, stating: In 2003, they released Enemy of the Enemy, which became their best-selling album and contained the track "Fortress Europe", an attack on European immigration policy, along with "1000 Mirrors", a collaboration with Sinéad O'Connor about a woman serving life for killing an abusive husband. In 2003, they played their biggest gig in front of 100,000 people in France at a celebration of José Bové, a radical campaigning farmer. For 2005's Tank, they were joined by On-U Sound collaborator Ghetto Priest on vocals, with the help of Adrian Sherwood; the band continued performing their La Haine soundtrack around the world for the next five years. They developed this approach in 2004 with another improvised soundtrack to the film The Battle of Algiers, first performing the piece at the Brighton Dome.
In 2005, they won "Best Underground" at the UK Asian Music Awards. Bassist Dr Das announced his intention to retire in May 2006 to resume teaching and produce his own music, he was replaced by Martin Savale, who plays bass with British-Asian electro/grunge/hip-hop band Swami. In September 2006, the dub/punk opera "Gaddafi: A Living Myth", with music by ADF, opened at the London Coliseum. In Spring 2007, Asian Dub Foundation announced the release of a best of compilation Time Freeze: The Best of Asian Dub Foundation which included a bonus disc of rare remixes and live tracks, including a live recording of a Public Enemy song featuring Chuck D; the album featured a new track recorded with former vocalist Deeder Zaman. In May 2007 ADF performed a radio session and interview on the Bobby and Nihal show on BBC Radio 1 where they performed three new tracks: "Climb On", "Superpower" and "S. O. C. A.". In June 2007, they were the only Western act to perform at the Festival of Gnawa music in Essaouira, Morocco playing to a crowd of 60,000 people and collaborating with traditional Gnawa musicians.
In August 2007, Asian Dub Foundation started playing with two new vocalists, Al Rumjen and Aktarv8r, who returned after MC Spex was asked to leave the band due to personal issues. In November/December 2007, Asian Dub Foundation recorded Punkara, it was followed by a tour of Europe and Japan. In 2009, ADF contributed to the Indigenous Resistance project after having met up with the Atenco movement in Mexico. Asian Dub Foundation started work on their new album, provisionally entitled A New London Eye, which would feature Ministry of Dhol, Nathan "Flutebox" Lee, Chi 2 and Skrein; the album came out as The History of Now and the band toured extensively to promote it. The cover contained. In May 2012, the band was asked by immersive pop-up subversives Secret Cinema to revive their live soundtrack to La Haine at Broadwater Farm and performed the piece in Paris the night of the French elections; that year ADF were rejoined by Dr. Das, Ghetto Priest and Rocky Singh, they recorded a new album, The Signal and the Noise, headlined a series of festivals including "Bearded Theory" and "Asigiri Jam" in Japan.
In 2014, the band debuted their latest live soundtrac
Drum and bass
Drum and bass, is a genre and branch of electronic music which emerged from rave and jungle scenes in Britain during the early 1990s. The style is characterised by fast breakbeats with heavy bass and sub-bass lines, sampled sources, synthesizers; the popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. Drum and bass incorporates a number of styles. A major influence on jungle and drum and bass was the original Jamaican reggae sound. Another feature of the style is the complex syncopation of the drum tracks' breakbeat. Drum and bass subgenres include breakcore, ragga jungle, darkstep, neurofunk, ambient drum and bass, liquid funk, jump up, drumfunk, sambass and drill'n' bass. From its roots in the UK, the style has established itself around the world. Drum and bass has influenced many other genres like hip hop, big beat, house, trip hop, ambient music, jazz and pop. Drum and bass is dominated by a small group of record labels.
The major international music labels had shown little interest in the drum and bass scene, until BMG Rights Management acquired RAM in February 2016. Drum and bass remains most popular in the UK although it has developed scenes all around the world, in countries such as the United States, the Netherlands, New Zealand, Canada, the Czech Republic and Australia. In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new electronic music style in the rave scene, which combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres and samples of music and effects from films and television programmes. A faster subgenre was known as "hardcore" but from as early as 1991, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno", a genre influenced by Jack Smooth and Basement Records, just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain.
It is important to note when discussing the history of drum and bass that prior to jungle, the music was getting faster and more experimental. Professional DJ and producer C. K. states, "There was a progression. Anyone buying vinyl every week from 1989 to 1992 noticed this." By 1994, jungle had begun to gain mainstream popularity and fans of the music became a more recognisable part of youth subculture. The genre further developed and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, complex edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, jungle inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's aggressive or menacing sound and themes of violence. However, this developed in tandem with the positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London.
By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass. As the genre became more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance, it began to split into recognisable subgenres such as jump-up and Hardstep. As a lighter and jazz-influenced style of drum and bass gained mainstream appeal, additional subgenres emerged including techstep which drew greater influence from techno music and the soundscapes of science fiction and anime films; the popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles.
Speed garage shared high tempos and heavy basslines with drum and bass, but otherwise followed the established conventions of "house music", with this and its freshness giving it an advantage commercially. London DJ/producer C. K. says, "It is forgotten by my students that a type of music called "garage house" existed in the late 1980s alongside hip house, acid house and other forms of house music." He continues, "This new garage of the mid 90s was not a form of house or a progression of garage house. The beats and tempo that define house are different; this did cause further confusion in the presence of new house music of the mid-1990s being played alongside what was now being called garage." Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep and successful artists including Chase & Status and Australia's Pendulum
Nitin Sawhney is a British Indian musician and composer. A recipient of the Ivor Novello Lifetime Achievement award in 2017, his work combines Asian and other worldwide influences with elements of jazz and electronica and explores themes such as multiculturalism and spirituality. Sawhney is active in the promotion of arts and cultural matters, is a patron of numerous film festivals and educational institutions. Nitin Sawhney was raised in Rochester, England, by Punjabi immigrant parents; as a child he studied piano and flamenco guitar and tabla. Subsequently, he studied law at Liverpool University for a short time, it was during this period that Sawhney met up with a school friend, acid jazz keyboard-player James Taylor. Sawhney toured as part of The James Taylor Quartet; this experience led to him forming The Jazztones. He joined forces with tabla player and DJ/producer Talvin Singh to form the Tihai Trio. After dropping out of university, Sawhney trained as an accountant until leaving his job as a financial controller of a hotel to pursue his promising career in music.
Sawhney moved to London. The pair were given a show on BBC Radio, which grew into the award-winning BBC TV sketch show Goodness Gracious Me. Refocusing on music, Sawhney's solo career began in 1993, when he released his debut album, Spirit Dance on his own label. Sawhney has scored for and performed with orchestras, collaborated with and written for Paul McCartney, The London Symphony Orchestra, A. R. Rahman, Brian Eno, Sinead O’Connor, Jacob Golden, Anoushka Shankar, Jeff Beck, Will Young, Joss Stone, Taio Cruz, Ellie Goulding, Horace Andy, Cirque Du Soleil, Akram Khan, Deepa Mehta, Mira Nair, Nelson Mandela, Ojos de Brujo, Hélène Grimaud and John Hurt. Performing extensively around the world, he has achieved an international reputation across multiple artistic mediums. Appearing as Artist in Residence, Curator or Musical Director at international festivals, Sawhney contributes to musical education, having acted as patron of the British Government's Access-to-music programme, the East London Film festival and Artis as well as acting as a judge for The Ivor Novello Awards, BAFTA, BIFA and the PRS foundation.
He is a recipient of 6 honorary doctorates from British universities, is a fellow of LIPA and the Southbank University, an Associate of Sadler's Wells, sits on the board for British theatre company Complicite. In 2017, Sawhney received the Ivor Novello Lifetime Achievement award. Having turned down an OBE in 2007, claiming it was associated with "a colonial past", Sawhney accepted a higher-grade CBE in the 2019 New Year Honours, he claimed that he accepted it for his father, who he said had passed away regretting that Sawhney had rejected the OBE. Since 2014, the publishing interest of Nitin Sawhney's catalog has been represented by Reservoir Media Management. Sawhney has released 10 studio albums, he has received 17 major national awards for his album work and is a recipient of the Ivor Novello Lifetime Achievement award. In 1999 Sawhney released his fourth breakthrough Gold-selling album, Beyond Skin, on London's Outcaste Records, which took a prestigious Mercury Music Prize nomination and won Sawhney the coveted South Bank Show Award.
After a subsequent signing to Richard Branson’s V2 Records, Sawhney released the Silver-certified Prophesy in 2001, winning a MOBO Award as well as a BBC Radio 3 Music Award. Sawhney’s seventh album, was released in May 2005, taking yet another BBC Radio 3 Award and in 2008, his eighth album, London Undersound, released on Cooking Vinyl, featured artwork by Antony Gormley and performances from Paul McCartney, Anoushka Shankar, Imogen Heap and Natty, amongst many others. Sawhney’s 2011 studio work, Last Days of Meaning, previewed at the Royal Albert Hall in May 2011, centres on a from actor, John Hurt, follows the metaphorical, Dickensian journey of a lonely and intransigent man, his 2013 box-set release One Zero was recorded live-to-vinyl as a celebration of ten albums releases. Nitin’s tenth studio album, Dystopian Dream, was released in November 2015, he produced Anoushka Shankar’s Grammy nominated album “Traces of You” featuring Norah Jones, has produced the artist Nicki Wells’ debut album and the tenth album of concert pianist Helene Grimaud, Water.
To date, Sawhney has scored over fifty films as well as many international TV programmes and cinema trailers. Signed to LA based agency, First Artist Management, Sawhney has written music for a wide variety of contexts, from dark, high-tension drama to light hearted animatronics. Sawhney has been commissioned to write the scores for a number of different projects, his music for Channel 4's Second Generation received a nomination for the Ivor Novello Award for Film and TV Composition. He has scored ads for Nike and Sephora. In 2006, Sawhney composed a new symphony to accompany Franz Osten's 1929 silent film, A Throw of Dice, which premiered with the London Symphony Orchestra at the Barbican, London. Other notable works include scores for Oscar-nominated director Mira Nair's adaptation of Jhumpa Lahiri's, The Namesake, as well as Natural Fantasia and Human Planet for the BBC, his work for film and television has led Sawhney to gain recognition within the world of classical music. In 2001, Sawhney composed "Neural Circuits" for the Britten Sinfonia In 2002, he worked with Akram Khan and Anish Kapoor, scoring the music to Khan's choreographed work Kaash, which toured worldwide between 2002–2003.
In 2004, Sawhney was commissioned by the City of Birmingham Symphony Orchestra to compose a new piece for their Harmony Project. His previous scor