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Indian E-music – The right mix of Indian Vibes… » 2018 » May » 08


THE IMAGINE MUSIC FESTIVAL LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Tue 8 May 2018 6:00 pm
Armin Van Buuren, Alesso, Galantis, RL Grime, and Zeds Dead all headline! GRiZ, Green Velvet, Oliver Heldens, Paul Oakenfold, and Adventure Club also top the lineup!

License Renewal Cycle Starts in a Year – Crackdown on Silent Stations and Online Public File Signal Warnings to Broadcasters

Delivered... David Oxenford | Scene | Tue 8 May 2018 4:10 pm

Starting June 1, 2019, just over a year from now, the next broadcast license renewal cycle will begin. By that date, radio stations in DC, Maryland, Virginia and West Virginia must file their renewal applications. Every other month for the next 3 years will bring the filing of radio license renewals in another set of states. And television stations will begin their renewal cycle a year later (June 1, 2020). The FCC’s schedule for radio license renewals can be found here and here. For TV stations, the schedule of renewal filings by state is in the same – just one year later than for radio. Every eight years, broadcast stations have to seek the renewal of their licenses by the FCC by demonstrating their continuing qualifications to be a licensee, including showing that they have not had a history of FCC violations and that they have otherwise served the public interest.

We have already written several times about how, with all broadcasters – both radio and TV – now required to have an online public file, it is important for stations to make sure that those files are complete and are kept up to date on a regular basis (see our articles here, here and here). Given that the contents of the online public file can be viewed by anyone, anywhere, just by launching an Internet browser, we would expect more complaints about incomplete files, and more scrutiny by the FCC of the contents of files that rarely were subject to FCC review in the past. FCC staffers can review public file compliance from their offices or homes, and do not have to rely on the rare field inspection to discover a violation. Thus, stations should be reviewing the contents of their files now to be sure that they are ready for the scrutiny that they will receive in the upcoming renewal cycle. But that is not the only issue about which stations need to be concerned, as illustrated by a decision released by the FCC yesterday, deciding to hold an evidentiary hearing as to whether the license renewal of a broadcast station that had been silent much of the last license renewal term should be granted.

In the Hearing Designation Order released yesterday, the FCC went through the history of a Wyoming radio station that had operated for only days during its last license term, and since then had each year operated for only a few days each year to avoid forfeiting its license under Section 312(g) of the Communications Act (which says that the license of a station that is off the air for more than a year is forfeited unless the FCC finds that the public interest calls for an exception – see our articles here and here). Only since last August, well past the end of the license renewal term under review, did the station come back on the air on a full-time basis. The FCC asks the station’s licensee to produce all records of how it served the public interest during the renewal term (including all logs and records of EAS tests) and otherwise provide evidence as to why its renewal should be granted.

We wrote here about the FCC launching a similar hearing proceeding for another station last year, and about a number of other cases where the FCC has imposed short-term renewals or other penalties on stations that had a history of long periods of silence during the license term (see our articles here and here). While the FCC’s dividing line between stations that get a short-term renewal and those that get designated for hearing and possible loss of license is not entirely clear, yesterday’s decision reinforces the warning to broadcasters who currently have silent stations that they need to get those stations operational as soon as possible so as to be able to demonstrate a record of public service during the current license term so as to justify a renewal when their applications are filed during this upcoming renewal cycle.

The renewal cycle starts next year. The time for getting into compliance is now, as last minute fixes may not solve all problems – and that last minute may already be upon or be imminent for many stations.

Polyend’s Medusa is an expressive grid, powerful sequencer, and synth

Delivered... Peter Kirn | Scene | Tue 8 May 2018 12:14 pm

Polish maker Polyend has one special grid – expressive sensing meets powerful sequencing and recording. And now, combined with a dedicated synth made with Dreadbox, it starts to really come alive.

The first impression of Medusa, the new instrument shown last week at Superbooth, is a little bit of a Dreadbox synth tacked into a case with the grid sequencer from Polyend’s SEQ. But that’s really not what you’re getting here. For one thing, Polyend had a hand in the synth portion of this instrument, too, suggesting new architectural features. And for another, because every single parameter on the synth side can be played live and sequenced from the grid, you really get the sense of a complete, integrated instrument.

That’s not to say that SEQ, Polyend’s expansive sequencer product, doesn’t work well at these features, too. In fact, Medusa acts as a nice calling card / advertisement for what SEQ can do. But there’s something about immediately getting sound when you press into a space on the grid that makes a big difference.

And even before you start up the step sequencer, Medusa’s grid is irresistible to play. Each pad responds to x/y/z input, not just pressure. It’s sort of the opposite of the lifeless, on/off digital feeling of the monome – every continuous variation of the finger, every movement around the pad controls the sound. (Apologies to the monome, but that to me is a significant evolution – now that we’re accustomed to the once-radical grid interactions of the monome, we might well expect this kind of expressive dimension.)

Polyend have equipped that grid with a dedicated display, and mapped every parameter from the synth. So you can play live, you can record those performances, or you can increment through steps and play or program detailed changes as steps, then play back and jam.

This is what it’s all about – deep control of parameters, which you can then assign to individual pads and automate step-by-step.

Of course, the other advantage of an integrated instrument is, you don’t have the bandwidth problems of MIDI. The internal architecture is there both for synth and sequencer, so you can modulate everything as fast as you like. (Richard Devine was on hand to turn up the bpm knob really high to test that.)

The Medusa is planned for availability August/September 2018 at 999€.

That’s 999 including VAT and shipping, so figure even a bit less in USD.

And yeah, if you want to know my favorite thing from Superbooth – this is it. It seemed to be a crowd favorite, as well.

Here are the full planned, confirmed specs as provided to CDM – though Polyend hinted there may be more in the works by launch, too. (Dreadbox may have more to say about this, too; I only had time to talk to Polyend!)

Grid/sequencer/controller:
64 customizable three-dimension-expressive pads for a controller/sequencer
Step, live, and incremental sequence modes
256 independent sequences and voice presets
Per-step sequencing of notes, parameter locks, or even entire synth voice presets
Assign X and Y pressure axis to any modulation parameter, per pad
Randomization of voice and sequence
OLED display with customizable user menus

The synth is a nice digital-analog hybrid – 3 + 3, analog + digital wavetable (and comes with its own separate OLED display):

This synth end of Medusa means business, too.

Synth:

Three analog oscillators with sync, four wave types per oscillator
Three wavetable oscillators
24dB Dreadbox analog multimode filter (2- or 4-pole lowpass, highpass)
Play modes: monophonic, paraphonic x 3, paraphonic x 6 (so you can route the digital oscillators through the analog filter, yes)
Frequency modulation for oscillators and filter
Audio input
Noise generator with color shaping

Powerful, assignable envelopes and LFOs let you shape the 3 analog + 3 digital oscillators… and all of this is accessible from the grid/sequencer, too.

Modulation + control:
5 independent LFOs, which you can route into almost anything
5 independent DADSR envelopes with looping and its own parameter assignment
Mixer for all seven analog/digital/noise voices
Separate volume control for headphone and main audio out
USB MIDI in + out and DIN MIDI in + out + thru

Here’s Piotr talking about it in a couple minutes to FACT:

Sound demo, from Bonedo:

http://polyend.com/

https://www.dreadbox-fx.com/

The post Polyend’s Medusa is an expressive grid, powerful sequencer, and synth appeared first on CDM Create Digital Music.

EXCLUSIVE: Tabla with a difference // Mayur Narvekar

Delivered... Blog | Scene | Tue 8 May 2018 7:21 am

Mayur Narvekar is a composer, producer, DJ, remix artist, label owner, teacher and a multi-instrumentalist at BANDISH PROJEKT.

From the echo of festivals across India, Mayur has resounded in International festivals like Caldestino Sweden, Lile France, Glastonbury UK, Incubate Netherlands, Fringe Scotland, Melbourne Electronic Festival Australia and being the BBC Asian Network only official touring artist from India in 2007. Mayur started dabbling in music from age 3 and was then trained in Indian classical tabla. Mayur dived head-on into the world of percussion, earning repute as a tabla player, He was the winner of all India Radio competetion in 2000 (Percussion) and was awared the promising percussionist in 2001 by Pandit Nikhil Gosh Academy. After Bandish Projekt and Bhejafry Records (Record label) the recent venture is Bandish Beat Faktory a learning module for electronic music production and education which has also been getting a global accpetance.

He has used these roots to bring his taste for strange sounds and electronic noises that brings a certain wildness and rarity in his style while his classical element keeps him grounded. Mayur‘s need for experimenting takes him to unchartered scales, His music is his journey and it is that journey he explores!

The post EXCLUSIVE: Tabla with a difference // Mayur Narvekar appeared first on Blog.

Jasmine // Jai Paul

Delivered... Blog | Scene | Tue 8 May 2018 7:21 am

A year after BTSTU was released on to our ears; London’s Jai Paul is back to satisfy our audio craving with a new track titled ‘Jasmine’. It really is an intelligent piece of music covered in beautiful lo-fi distortions and crackling joined by guitar riffs adding that subtle element of funk grooves all the while keeping it fairly chilled out …

The post Jasmine // Jai Paul appeared first on Blog.

FreQ Nasty – Bon Merde Remixes // High Chai Recs

Delivered... Blog | Scene | Tue 8 May 2018 7:20 am

The Fiji born, producer and breakbeat innovator, FreQ Nasty is joined by High Chai label mates. Remixing his infamous signature style of drumstep, glitch-hop, dubstep, and all things bass-heavy is Liquid Stranger and FS from the US, India’s leading DJ, B.R.E.E.D and Canada duo Knight Riderz each bringing their own elements on this heavy remix EP compiled by label head dimmSummer.

The post FreQ Nasty – Bon Merde Remixes // High Chai Recs appeared first on Blog.

Sound Trippin’ across India // MTV

Delivered... Blog | Scene | Tue 8 May 2018 7:20 am

Last year Babble Fish Productions brought us The DEWARISTS a fantastic journey and exploration of sound and culture. Bringing together independent Indian artists and providing the with a platform to collaborate with their unique surroundings to inspire them.

2012, there’s a new show on the screens, Intel MTV’s Sound Trippin’. A show hosted by Sneha Khanwalker, a contemporary music director, breaker of stereotypes and rising star in the music arena in India. She is boldly going into the lesser-known India, backpack and recorder in tow, in relentless pursuit of authentic sound. Why sound? Because nothing captures the essence of a location of a community better than its local sounds.

The post Sound Trippin’ across India // MTV appeared first on Blog.

Return of The Punk-A-Wallahs!

Delivered... Blog | Scene | Tue 8 May 2018 7:19 am

The 2012 sees the return of The Punk-a-Wallahs, but this time in a different disguise – a tag team consisting of DJ PATHAAN and ANDREW T. MACKAY of the glorious BOMBAY DUB ORCHESTRA. Expect some of the finest remixes and tunes from this pair. If you have ever heard their tracks as individuals you will know that these two will only deal with the most refined and ornate music from around the world. You will not be disappointed …

To start their sonic adventure, heres their first remix of Steadfast from No Stranger Here featuring Ursula Rucker, Shubha Mudgal and Business Class Refugees.

The post Return of The Punk-A-Wallahs! appeared first on Blog.

MC Yogi’s New Album Pilgrimage

Delivered... Blog | Scene | Tue 8 May 2018 7:19 am

MC YOGI, spiritualist, graffiti artist and Yoga instructor will be dropping his long awaited follow up to the début, ‘Elephant Power’, on 19th June 2012. ‘Pilgrimage’ influences are all over the musical map: world beat, hip-hop, reggae, dance hall, house, and dub. Chaotic street sounds of India blast through the mixes, alongside madhouse beats, old-school turntable scratches and popping horns over which Yogi effortlessly drops his rhymes.

The post MC Yogi’s New Album Pilgrimage appeared first on Blog.

EXCLUSIVE Jelly // The Talvin Singh Archives

Delivered... Blog | Scene | Tue 8 May 2018 7:18 am

A wonderful track from the Talvin Singh Archives – Jelly, produced back in 2007, its a track that features all the glorious trademarks of Talvin Singh but will a bit of wobble to it.

Expect harmoniums, electronics, ambient scapes and tablas all woven with bass and hint of dubstep!

The post EXCLUSIVE Jelly // The Talvin Singh Archives appeared first on Blog.

Evolving sounds from the grand sires of Eastern Drum and Breaks

Delivered... Blog | Scene | Tue 8 May 2018 7:17 am

For over a decade now these gents have been evolving their sounds by channelling the contrast of electronic and Indian Classical music. They are the grand sires of Eastern Drum and Breaks, inspiring and influence an entire cohort of DJs and producers to create music of a similar nature.

Some familiar names come together on the Swedish label ‘Meerkat Recordings’ on the ‘7th Day’ EP. The Nasha Experience’s Nuphlo, Osmani Soundz is joined by Mumbai’s Apurva and drum ‘n’ bass crew Delta Star [Nuphlo and Ges-E] who make their debut with the title track. The EP has gone down immensely well with the listeners of both BBC Radio 1 and Asian Network proving its massive appeal.

Delta Star launches the EP with the self titled. A hard hitting drum & bass track, trickling with a dark melody fastened together by subtle eerie vocals. Osmani Soundz and Nuphlo pick up right where the Delta Star left off with what could very well be the most popular tune on the EP. ‘Sand Dunes‘, starts of as this elegant Middle Eastern inspired affair that quickly turns into a potent bass attack floor filler that is destined for greatness.

Carrying on the Middle Eastern vibe, Nuphlo treats us to a solo tune, ‘Kasbah‘ with an inscrutable beginning which in no time mutated into a grimier dubstep tune, executed dexterously. This is then juxtaposed with the penultimate track which is a summer anthem for sure. ‘Tea Rooms‘ by Delta Star is that ideal track you want to be listening to on hot day. A euphoric and lightly coated drum & bass track with a lot of textures, sounds like something Netsky would pull out of the bag! Definitely a favourite! Nuphlo and Apruva close the ’7th Day’ EP with ‘Conflict Resolution’, fuelled by merciless basslines that provide refuge for ethereal vocals and choppy rhythms that soften the track up.

This EP is evidence these pioneers have not wavered in their game since the beginning.

I caught up with Nuphlo for a quick Q&A

NB: So, what is the reason for working with Ges-e, Osmani Soundz and Apurva in this context on Meerkat?

Nuphlo: I think the reason for working with Ges-e and Osmani is simply because we make so many tunes together that dont get released, some of them needed to see the light of day I felt. Meerkat gave us that opportunity. Working with Apurva was purely through us meeting, raving and talking together in Mumbai. He’s on the level when it comes to good dnb. Hes very passionate about what sort of sound he wants to make, plus I only really make tunes with people I like.

The post Evolving sounds from the grand sires of Eastern Drum and Breaks appeared first on Blog.

Positiva energy: 25 years of the legendary dance label – in pictures

Delivered... Electronic music | The Guardian | Scene | Tue 8 May 2018 7:00 am

The Positiva dance label dominated the 90s with their pumped-up trance and house tracks – and the iconic logo showcased on these flyers

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How we made Talvin Singh’s Mercury-winning album OK

Delivered... Interviews by Dave Simpson | Scene | Tue 8 May 2018 6:00 am

‘We were just sitting there with Björk when she got a call from Bono. Next thing I knew, we were supporting U2 at Wembley!’

I was raised in Leytonstone, in east London, by Sikh parents. My uncles would have Indian classical music soirees. There were always tabla around, but I also grew up with Top of the Pops. To me, it was all just music, but the Indian classical musicians back then were very judgmental – about everything from how I played tabla to how I looked.

I’d heard that when second world war pilots came back from missions alive, they were listed as 'OK'

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