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Indian E-music – The right mix of Indian Vibes… » 2017 » October » 05

Video: UVI Launches Falcon 1.4 Hybrid Instrument & Anniversary Sale

Delivered... Emusician RSS Feed | Scene | Thu 5 Oct 2017 11:34 pm
Paris, October 5th, 2017 - UVI has launched the Falcon anniversary celebration and announced version 1.4, a free update to its flagship hybrid instrument, available for download immediately for all F..

Kaitlyn Aurelia Smith: The Kid review – analogue psychedelia with some growing up to do

Delivered... Ben Beaumont-Thomas | Scene | Thu 5 Oct 2017 10:30 pm

(Western Vinyl)

With modular synths growing densely around her multitracked voice, this album from Pacific-coastal artist Kaitlyn Aurelia Smith becomes as lush, heady – and occasionally trying – as a rainforest. It’s an ambitious record in four parts, with each quarter representing a different emotional phase of a human lifespan.

Her melodies share the courtly poise of English folksong and the psychedelic naivety of Animal Collective – they accurately evoke the blitheness of youth in the album’s first half, but also, less fortunately, its directionlessness. The textural pleasures of tracks such as I Am Learning and A Kid – full of wonky tiki kitsch – are muted by the vocal lines which, given starker backing, would be embarrassingly underwritten. Things improve in the later, more reflective tracks, as the rhythms and melodies simplify and stretch out, particularly on the beautiful closing track To Feel Your Best, underpinned by a faint, watery dancehall beat.

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iConnectivity Targets Live Musicians with the PlayAudio12 audio/MIDI Interface

Delivered... The Electronic Musician Staff | Scene | Thu 5 Oct 2017 10:15 pm
iConnectivity has announced PlayAudio12, an audio and MIDI interface designed specifically for live musicians. PlayAudio12 ($499 street) promises bullet-proof, fail-proof solution for control and play..

Kelela: Take Me Apart review – future-facing glitchy R&B with traction

Delivered... Rachel Aroesti | Scene | Thu 5 Oct 2017 10:00 pm


When Washington-born singer Kelela released her first mixtape, Cut 4 Me, in 2013, her fusion of sumptuous R&B vocals and harsh, avant garde electronica made a splash. But in the four years since, alternative R&B has gone from bleeding edge to genre du jour: in a class now crowded with thoroughly modern divas, has anyone has been saving Kelela a seat? As her debut album opens, the idea that the singer may have been left behind by the sound she helped establish doesn’t seem outlandish: Frontline is funky but plodding and retro in its staccato style. Thankfully, Take Me Apart soon proffers tracks that are both pop-minded and gratifyingly future-facing. Producer Arca may be her not-so-secret weapon in the latter regard, creating sublime but techy sonic hellscapes among the ambient synths and skittering beats.

Meanwhile, Kelela’s vocal stops Take Me Apart ending up as a fragmented series of sounds: consistently exquisite as it dances between lovesick confusion and shrewd sensuality.

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Delivered... Spacelab - Independent Music and Media | Scene | Thu 5 Oct 2017 7:45 pm
We'll be covering the festival, so check back for updates!

iZotope Ozone 8 & Neutron 2 Bring Machine Learning & Inter-plugin Communication to Mixing & Mastering

Delivered... Emusician RSS Feed | Scene | Thu 5 Oct 2017 5:49 pm
Cambridge, MA (October 5, 2017) - Today iZotope, Inc., the experts in intelligent audio technology, announced the release of Ozone 8, Neutron 2, and Music Production Suite. The Advanced versions of O..

Panorama Bar DJ Roi Perez On Being A DJ Who’s Not A Producer

Delivered... By Roi Perez. Cover photo by Matthew Billings. | Scene | Thu 5 Oct 2017 12:43 pm

When I started DJing, I never thought about where it would lead me. I simply loved playing music. I was immediately fascinated by the idea of being able to produce my own tracks as well, but I had no real understanding about what it takes to be a producer. I was curious, pretty young at the time and quite naive. So I bought a pair of monitors and Logic Pro and enrolled in a course for music production, but after a while I realized that it was not my space. I found that I don’t feel comfortable sitting in a studio for hours on end. That’s not really the way I connect with music.

At the same time, the more I got into DJing, the more I realized that it’s a whole world in and of itself. I was sucked into that world, and it didn’t really leave much time for me to focus on anything else. Since then, the different aspects of it basically consume 100 percent of my time.

I don’t produce my own edits, either—or even use the loop function on the CDJs, for that matter. My approach to DJing is pretty pure in the sense that I want to let the music play. I am aware of the possibilities and power that comes with producing your own edits—for instance, you can streamline and perfect tracks for your own sets. But I’m not looking for perfection when I DJ. I don’t want to edit someone else’s creation in order to fit it better into my sets. I’m more concerned with other questions, like: What do I want express with the music? How does that translate into my flow? And how do I connect and communicate with the people on the dance floor?

That being said, I admire people who are able to make music and express themselves as musicians through their music. It moves me. And their records enable me to do what I love. I am a dancer at heart. I like the dance floor as much as the DJ booth. You could say that I approach DJing with the understanding of a dancer.

Deep inside, I maybe sometimes think that it would be really amazing if I could create my own music, but I enjoy the craft of playing records so much that I don’t want to do anything else. I’m constantly refining my technique and constantly learning. I play at home a lot, too, and I go through my records all the time. To me, DJing and all the things connected to it, like digging for records in different ways, has a therapeutic effect. I can’t not play music for very long.

I get that DJs today feel the need to produce their own records so they have something people can talk about and something they can promote themselves with. I understand that dynamic. But it’s not for me. It doesn’t motivate me. As much as my initial fascination related to both DJing and production, I came to realize that they are very different art forms. There is the saying that a good DJ isn’t necessarily a good producer, and vice versa. Even if it is a bit of a cliché, I subscribe to it.

Among other residencies, I’ve been a resident at Panorama Bar for one year, and I’ve been playing the club for three. It’s a great place to present my musical vision. And it’s a club that allows their resident DJs to be first and foremost just that: DJs. Take Tama Sumo or Boris, for instance: when I joined the agency, they asked me if I was going to start producing, too. I replied that I would like to dedicate myself to DJing for the time being, and that I don’t really see myself diverting that focus to production any time soon. They accepted that, and we’ve never talked about it again.

So what does it ultimately mean to focus entirely on listening closely to other people’s records? It means gaining a deeper knowledge of the musical decisions that they’ve made and how these translate both on the dance floor and within the larger narrative of my set. It means understanding the endless ways to make connections across rhythms and genres and shedding new light on a record by playing it within the context of two others. You can hear a song completely differently when it’s blended, introduced, followed or interspersed by an unlikely choice, like when rhythmic shifts are created within a track by introducing new elements. Some of the best DJs can make you hear a track that you think you know well for the first time. Within each of these avenues, there’s an enormous creative potential that can be explored. Being a DJ and not producing is not about being modest or lacking confidence, but about being obsessed with music in a different way.

Roi Perez will play our Telekom Electronic Beats Clubnight at Mauke in Wuppertal this Saturday, October 7. Find more information here.

Read more: Get a lesson on how to tour with your vinyl from a veteran DJ

The post Panorama Bar DJ Roi Perez On Being A DJ Who’s Not A Producer appeared first on Electronic Beats.

Readers recommend playlist: your songs about spinning

Delivered... Sarah Chappell | Scene | Thu 5 Oct 2017 12:11 pm

A reader takes a dizzying look through your suggestions, with Kylie Minogue, Dead Or Alive, Kate Tempest and Arctic Monkeys all making the list

Here is this week’s playlist – songs picked by a reader from hundreds of suggestions on last week’s callout. Thanks for taking part. Read more about how our weekly series works at the end of the piece.

Admit it. You’ve had that slightly sicky feeling when a special person comes close. You know the one – the nausea, the worry your legs might buckle, the head-rush, the dizziness. That. Our opening two pure pop tracks – Dead Or Alive’s You Spin Me Round (Like a Record) and Vic Reeves and the Wonder Stuff with Dizzy – capture all this and get us under way in a whirlwind of love and confusion.

I go round in circles
Not graceful, not like dancers
Not neatly, not like compass and pencil
More like a dog on a lead, going mental

Throwing Muses - Dizzy

The vaspod has Dizzies by Vic Reeves, Siouxsie & The Banshees, and TM. This is the best. Kristin Hersh's conscious attempt to write a hit single. And had there been any justice in this world she would have done. Gorgeous and bitter melancholy about the last Native American in Oklahoma. (I've just been there, there are actually loads.)

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Lonely Artists Today: Jonathan Ward

Delivered... norient | Scene | Thu 5 Oct 2017 6:00 am

Jonathan Ward is the founder of the free music archive Excavated Shellac (USA). In this short quote from the Norient book Seismographic Sounds (see and order here) he tells about what makes him feeling lonely as a music enthusiast.

Jonathan Ward, founder of Excavated Shellac (Photo © by Jonathan Ward)

As someone who is interested in the 78 rpm format and the unparalleled range of global music that solely exists on that format, it’s virtually a foregone conclusion that it will sometimes be a near solitary – even lonely – practice. Comparatively few collectors of music understand it. It’s almost never broadcast. The most interesting discs could take decades to acquire. They are brittle, and need specialized, expensive equipment for proper playback. They sound stereotypically «old» to many people – the stuff of history. Broadly, these complications make it an isolated sport, sadly viewed as the hobby of eccentrics who need more external stimulation. In a narrower sense, there are still fewer collectors who concentrate on vernacular music on 78 from across the world. For me, a captivating performance can come from anywhere on Earth. For others, it must be rooted in something they can musically comprehend. When I can hear something that is beyond my experience, that’s when I come alive.

This quote was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Thomas Burkhalter: «MP3-Blogs im Internet»
> Thomas Burkhalter: «The World at 78 RPM»

Video: Mixvibes’ Remix & DJ Apps Harness iOS 11 for Faster Work

Delivered... Markkus Rovito | Scene | Thu 5 Oct 2017 1:40 am
When Apple revealed the Files system for iOS 11, musicians and DJs waited hopefully to see how it may improve upon the way they have been imported and exporting files from music apps. French software..
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