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Indian E-music – The right mix of Indian Vibes… » 2018 » February » 13


Aleksandar Mlazev increases his app portfolio with another new FX app, Alien Box

Delivered... Ashley Elsdon | Scene | Tue 13 Feb 2018 9:15 pm

Only yesterday I was posting about another new from Aleksandar Mlazev, REMAKE, and now here’s another, Alien Box.

Aleksandar claims that Alien Box is a completely new kind of audio effect that you have never heard before, which is a very big claim indeed. According to him it makes the “sound big and slightly increases the sustain while adding gentle vibes to it”, although I’m not quite sure that I can imagine what that’s like or what I would actually want that for.

Apparently in the app the vibes are LFO modulated and the effect uses a very complex resonator system to achieve the effect. Also according to Aleksandar it’s a modulation effect that you might want to compare to a flanger, phaser or chorus but it is not like any of them, which isn’t too helpful really. I guess that if it really is that new then it’ll be very difficult to put into words what it actually does.

Unfortunately Alien Box looks remarkably like many of Aleksandar’s other apps as the pretty much all seem to share very similar UI elements. This makes it even more difficult to fathom what the app does or get a sense of what it might do for you.

Alien Box is an Audio Unit Effect AUv3 so it can be used inside GarageBand or any other AU host that you favour. The app can also run as in stand alone mode adding this new effect to the audio input of your choice, so you can play your guitar, bass or synth directly through the app if you have the right connector to do it.

Alien Box features the following controls:

– Gain – you can use it increase the gain and sustain
– Vibe – main tone and background vibes balance
– Depth – controls the modulations depth
– Reverb – adds reverb to the background vibes

Alien Box is available on the app store and costs $2.99:

The post Aleksandar Mlazev increases his app portfolio with another new FX app, Alien Box appeared first on CDM Create Digital Music.

THE SPRING AWAKENING PHASE TWO LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Tue 13 Feb 2018 8:00 pm
The festival has doubled down with their phase two lineup!

Commissioner O’Rielly to Head FCC Review of KidVid Rules

Delivered... David Oxenford | Scene | Tue 13 Feb 2018 5:40 pm

FCC Commissioner Michael O’Rielly today released a statement announcing that Chairman Pai has requested that he lead an effort to review the FCC’s “KidVid” rules – the rules that govern the amount of educational and informational programming that each broadcast station is required to air to meet the needs of children. Commissioner O’Rielly recently wrote about his concerns that the requirements that each TV station air 3 hours weekly of such programming for each of its program channels no longer make sense in today’s media marketplace where there are so many other outlets for children’s programming. We wrote here about his prior statement on the issues. In the statement released yesterday, he asked that all stakeholders in the children’s television world – including broadcasters, children’s advocates and family group representatives – contact his office with their opinions on the current rules. This new aspect of the FCC’s Initiative for the Modernization of Media Regulation seems to have traction –so interested parties should take advantage of the Commissioner’s invitation and forward their thoughts on children’s television obligations to him.

FCC Extends Comment Dates on National Caps on TV Ownership

Delivered... David Oxenford | Scene | Tue 13 Feb 2018 5:38 pm

The FCC in December issued a Notice of Proposed Rulemaking, looking at changes in the national television ownership caps. We summarized the issues raised in that Notice here. The FCC yesterday issued an Order extending the comment dates in that proceeding. Comments are now due on March 19, with replies on April 18.

THE READING FESTIVAL LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Tue 13 Feb 2018 2:30 pm
Fallout Boy, Kendrick Lamar and Kings Of Leon all headline! Post Malone, Wolf Alice, Panic! At The Disco, Dua Lipa, Courteeners and Skepta are also in!

15 Essential Wild Pitch Remixes From House Music’s ’90s Golden Years

Delivered... By Finn Johannsen | Scene | Tue 13 Feb 2018 12:32 pm

When it comes to house music history, DJ Pierre’s name is most often credited with co-inventing acid house as a part of Chicago outfit, Phuture. But did you know there’s more to the man’s career than squelches and TB-303 basslines? Later, in the ’90s, he moved to New York and developed his own style of looped-up and extended remixes that would once again shake the very foundations of house music.

Nowadays, record diggers can find these mixes on records of the era marked as “DJ Pierre’s Wild Pitch Remix”. This pays homage to the classic New York party series of the same name thrown by DJs Bobby Konders and Greg Day. Inspired by the way these parties mixed all sorts of genres under the same banner, Pierre decided he wanted to create a remix method that took the same approach.

A hallmark of this approach is the sheer length of these remixes, which often extend past the 10 minute mark. Designed for DJing, these remixes introduced new elements bit-by-bit while creating hypnotic grooves and euphoric climaxes. It goes without saying that many of these cuts are all still in pretty heavy rotation, but just in case you’re unfamiliar, we put together this guide to some of the label’s classics and overlooked gems.

Photon Inc. Feat. Paula Brion – “Generate Power (Wild Pitch Mix)” (Strictly Rhythm, 1991)

The ground zero of the genre. All the key elements are already there: the waddling groove, the tense strings, the looping stabs and the gritty vocal samples. The structure was not as refined yet, but the intensity level sure was. This track literally ran over house music in its release year, and Pierre obviously noticed that he was onto something.

DJ Pierre – “Muzik (The Tribal Wild Pitch Mix)” (Strictly Rhythm, 1992)

DJ Pierre has often said that his wild pitch remixing style was inspired by his preference for layering tracks over each other during long DJ blends. “Muzik” is a perfect example of that. Hear how its elements fade in and out, are repeated, modulated, replaced, continued and layered. It is a master class in structure.

Joint Venture – “Master Blaster (Turn It Up)” (Strictly Rhythm, 1992)

Divided into four parts that segue into one another over 15 breathtaking minutes, this track tore through dancefloors with a massive boom when it was released—and it still works today. Despite its power, it actually clocks in at just 120 BPM, which proves that pace doesn’t always equal heaviness.

Shock Wave – “The Mental Track (The Love And Sex Mix)” (Nervous Records, 1992)

Shock Wave is another one of DJ Pierre’s aliases. This track features spiralling chords that seem to stretch out to infinity. If you really want to make your dance floor go nuts, follow this with Inner City’s “Pennies From Heaven”, which is where the original vocal sample comes from.

Midi Rain – “Shine (Pierre’s Chicago House Mix)” (Vinyl Solution, 1992)

This is a DJ Pierre remix of a track by John Rocca’s MIDI Rain project. Heads may known Rocca as the voice that once graced “I.O.U.”, Freeze’s ’80s electro classic. It juxtaposes his distinct voice with some heavy bass and chunky Chicago house pianos. A very solid combination.

Phuture – “Rise From Your Grave (Wild Pitch Mix)” (Strictly Rhythm, 1992)

This record marked the return of Phuture, the acid house outfit that Pierre co-founded. This time around, they had a different sound that was just as powerful. Blurring the lines between house and techno, it paved the way for the dub techno blueprints that would emerge from Berlin a year later. Also see Phuture’s “Inside Out” for another game changing record by this same crew.

Yo Yo Honey – “Groove On (Wild Pitch)” (Jive, 1993)

To understand how radical DJ Pierre’s remixing was, you really ought to hear the original version of this track. In his hands, the cut transforms from a clubby soul song into a hypnotic dance floor builder. It’s one of the best Wild Pitch remixes. Pure perfection!

The Believers – “Who Dares To Believe In Me? (Original Mix)” (Strictly Rhythm, 1993)

Roy Davis Jr. was one of DJ Pierre’s proteges. Here he takes everything that made Wild Pitch great and throws in swirling pianos, funky guitars and a mean saxophone riff. This one’s still a serious statement.

Pleasure Dome – “8 Min. Of Trance” (Power Music Trax, 1993)

Never one to shy away from the latest trends, DJ Duke embraced the Wild Pitch style very early on. He developed his own take that became something of a signature. His Sex Mania label also released a lot of remixes in this style. This particular production is rather subtle by his standards, but it’s all the better for it.

Pet Shop Boys – “I Wouldn’t Normally Do This Kind Of Thing (DJ Pierre Wild Pitch Dub)” (Parlophone, 1993)

Two years after the first Wild Pitch release, DJ Pierre was so successful that he was asked to give the Pet Shop Boys a remix. Like many pop remixes from the era, he didn’t compromise at all. His version of “I Wouldn’t Normally Do This Kind Of Thing” is a surprisingly storming variant of the original.

Danell Dixon – “Dance, Dance” (Nite Grooves, 1994)

Dannell Dixon left Chicago for New York City when he was just 17 years old. Pierre evidently helped out on this, but there’s a youthful enthusiasm to this workout of a track. It shows how efficient a percussion loop can be.

Space 2000 – “Release Me (Vocal Mix)” (Wired Recordings, 1994)

How does the Wild Pitch treatment work if you apply it to a garage house track with a soaring vocal by UK soul singer Matthew David? It works ridiculously well.

Junior Vasquez – “X” (Tribal America, 1994)

The Wild Pitch sound hit while Junior Vasquez was holding down his residency at legendary New York house club, Sound Factory. Vasquez probably recognized the potential of this sound and wanted a piece of the action. He developed it further by adding ballroom drama and thunderous tribal drums that appealed to his crowd of voguers. Vasquez also changed the formula by switching from a structure that constantly builds to one that has more ups and downs. It was nonetheless just as exciting.

Ian Pooley – “My Anthem (Roy’s Back 2 Tha Phuture Mix)” (Force Inc. Music Works, 1995)

Here’s another remix by DJ Pierre’s protege, Roy Davis Jr. It again shows that he thoroughly understood how to create the tension at the heart of the wild pitch sound. Its slightly more techno-edged ten minutes seem to fly by, and it’s kind of disappointing that this speeding train eventually comes to a halt.

The Wild Pitch Brothers – “Mutherfucker Come Here (Wild Pitch Mix)” (Emotive, 1995)

Written by King Maurice—DJ Pierre’s younger brother—and mixed by the originator himself, this record is a deeper excursion that utilizes the Wild Pitch template. Then twisted noises set in and turn it upside down. That bitchy vocal sample is lifted from Larry Heard’s “Premonition Of Lost Love“. It all comes together to make a fine dance floor banger.

Want more sounds like this? Check out Finn Johannsen’s guide to the works of Japanese house master, Soichi Terada.

The post 15 Essential Wild Pitch Remixes From House Music’s ’90s Golden Years appeared first on Telekom Electronic Beats.

The Sample Shapes the Song

Delivered... Thomas Burkhalter (Norient) | Scene | Tue 13 Feb 2018 7:00 am

Swiss-Ghanaian singer and musician Joy Frempong of the duo OY made a trip to Southern and Western Africa to collect sounds and stories for their music. She tells us how she re-works these samples and what she is sometimes worries about. From the Norient book Seismographic Sounds (see and order here).

OY Live im PROGR Bern, 27.3.2013 (Foto Thomas Burkhalter)


[Thomas Burkhalter]: In your first solo album you worked with sounds from childhood and for the second album with recordings from Africa. What changed?
[Joy Frempong]: I started both albums with a concept in mind. On First Box Then Walk I used a lot of samples of toys. I linked them to my keyboard sampler from where I could play them in different pitches. I channeled my voice to the keyboard, too, so that I could replay it —live on stage and in the recording studio. For the album No Problem Saloon I took a trip to Western and Southern Africa. As I do not look like what most people think of as Swiss, I am often asked about my background. Because my father is from Ghana and my mother is Swiss, I have often found that I am supposed to represent Africa. I did spend the first seven years of my life in Ghana and have been there many times after. But I don’t speak any of the local languages and I don’t know contemporary Ghana all that well.

However, Ghana was the only African country I had ever been to and I became curious to know how much my Ghanaian experience could stand for other African countries, and how similar neighboring countries with other tribal backgrounds and a different colonial history would be related. The album was my excuse to finally make a trip and gather some impressions of new cultures. For three months I visited Ghana, Burkina Faso and several countries in Southern Africa to record sounds and stories there. But most of all, working on the album and searching for background information was also a good moment to do some cyber-journeying and discover many contemporary blogs of people who share a similar story to mine—having an African background or having emigrated, and telling their own story about their experiences. The common sentiment is that Africa is not presented correctly in Western media. It too often comes across as the continent of problems, and only problems.

[TB]: On the single «Market Place» we hear sampled field recordings, all edited to a rhythmical four-beat pattern. You recite proverbs and quotes from conversation that you collected: «They say life is like a market place. You come, you buy small, you greet some people small, and then you go, you leave.» What were pleasures and challenges when working with these sounds and words from your trip?
[JF]: It was a pleasure mainly. I talked to many people and wanted to feel what moves them. Snippets of these conversations are now in our music. «Market Place» for example is on the one hand based on a traditional proverb; on the other hand it is inspired by the conversation of two old friends aged 73 and 83, who had a long discussion about which of them would leave first, whose cell phone units would be used up sooner, and how they would choose to bury each other. The recording itself was at times tricky. I searched for sounds that could function as bass, melodies or beats. At a market in Ouagadougou there were some guys sharpening knives.

At first, I wanted to record that sound just by passing by, but then decided to ask permission. The result was that everybody around took notice of my action, shouted their comments about the situation, and it became almost impossible to record just the clean sound of the knives. Other moments were easy: I had absolutely no interruptions when recording my mother’s aged washing machine that had a spectacular sound that I could later use as a bass for the track «Chicken Beer.» The great thing about sampled field recordings is that often the noises one didn’t focus on while recording give the sound an extra touch. Some sounds you only discover when listening to the recordings at home. It is amazing to keep editing these recordings weeks and months later. Going through the hours of material is a bit like looking at photos. You hear the voices of people you met. You relive the journey.

[TB]: Together with Lleluja-Ha, your co-producer and drummer, you created fragments of melodies and songs from these samples. Is the key criteria whether a recorded sound fits into your music? Or is it more important what a sound stood for in the local context in which you recorded it?
[JF]: Both are important, I think. These sounds are manipulated to become building blocks of a song. But they still live in the music. A short sound of a car door slamming is different to a clean studio recording. Often such a sound will come in a funny combination with, for example, an expressive voice. This combination creates a micro-rhythm that’s never strictly metronomic. It stays a bit edgy. The sound shapes the music. And I personally have images in my head of every sound on this album. I know when and where I recorded it, and how it felt. This makes the music very rich to me. It’s a dimension hidden from the listener, but I’m sure it relates in another way.

[TB]: Musicians in Africa and Asia sometimes complain that foreign musicians keep sampling the most obvious and clichéd sounds from their places. How would you reply to such comments?
[JF]: Well, in our music, you will often not recognize the sounds that you hear. What you think is a synthesizer is in fact made up from voices mixed with clapping. I think it’s important to work with depth. Also, I might not have avoided clichés completely, but I didn’t look for them either. I was basically just documenting my road trip. Some everyday sounds I recorded can be heard in Berlin as well as in Bamako, but the particular experience makes the difference. For example, I wouldn’t usually have found it very interesting to record keys, but in Johannesburg safety is a very big issue and I had about three doors to unlock—including some that didn’t perfectly fit into the frame and did beautiful singing sounds—in order to enter my little garden flat. So, I decided to record my entering into the flat (you can hear the result on «Akwaaba»). Again, the key sound would be enriched by some tweeting of birds in the background, the wooden door, and a bus engine alongside the above mentioned washing machine, which was one of the few sounds that finally worked in a bass function.

[TB]: Have you played your album for people in Western or Southern Africa?
[JF]: We have performed in South Africa, Swaziland, Zimbabwe and Tanzania. I first felt a bit uneasy about how the lyrics might be taken. I come out of this inside-outside perspective, and I have the impression that people who have a similar bi-cultural background identify with the lyrical content most. At concerts, I often start one of our songs by telling this story about me introducing myself in a bar in Northern Ghana: «Hello, my name is Joy,» and a person replying «Oh, and I am Wonderful.» The song is something like an ode to beautiful names like «Happy, Love, Wonderful, and Peace» and other names I came across.

The little anecdote is funny for most people in Europe, but how will it be perceived where such names are very common? Will they say—his is Wonderful, so what? So, it was a bit strange to perform in Europe where all these stories were perceived as me, the «African» telling about faraway places (something I had so far always tried to clarify as «You’re mistaken, I spent most of my life in Switzerland»), and then being in an African country as the European singing about her African stories. Luckily, we found much appreciation of our style here and there.

The text was published first in a very short version in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Norient : «They Say Life Is like a Market Place»
> Hannes Liechti: «Perspectives on Sampling»
> Eduardo Navas: «Regenerative Culture (Pt. 5/5)»
> Thomas Burkhalter: «Visions of a New World – Ghana»

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