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Indian E-music – The right mix of Indian Vibes… » Labels


Pairing mode: music to listen to right now – a new series

Delivered... David Abravanel | Labels,Scene | Thu 9 Apr 2020 12:54 am

Ed.: Pairing mode is a new series focused on music to which we feel connection – mostly new, some back catalogs, all stuff we’re listening to. And maybe that’s the most essential way to approach music, finding what excites us. Resident music editor David Abravanel launches his new column.

Interested in getting covered? Promos can be sent to david[at]dhla[dot]me, or hit up David on twitter at @dabravanel

Quiet no more: cLOUDDEAD reissues

About a decade before the likes of Clams Casino, A$AP Rocky, and Lil B made Cloud Rap into a genre with major-label appeal, Oakland’s cLOUDDEAD were forging an experimental hip-hop path that was so cloudy it literally featured “cloud” in the name and clouds on the cover of a self-titled compilation of early EPs.

Clouds in the sky

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cLOUDDEAD – none more cloudy

Consisting of Why?, DoseOne, and Odd Nosdam, all of whom would later go on to solo success, cLOUDDEAD was a seminal moment for the late-90s/early-00s “undie” hip-hop sound. A series of EP releases featured side-long tracks that collaged together stream-of-consciousness raps, lo-fi drone beats, and the occasional bizarre skit. Predating Burial’s track collages and the lo-fi/chill beats explosion, this was noncommercial music for the time, but sounds like the kind of thing that could easily have taken off towards wider appeal in the SoundCloud/Spotify/Bandcamp era.

cLOUDDEAD – “The Sound of a Handshake”

And there’s a lot to listen to from cLOUDDEAD, on top of everything. With a self-titled compilation of early EPs (2000), the album, Ten (2003), a couple Peel sessions and an EP which featured career highlight “The Sound Of A Handshake”, it’s hard to know exactly where to start. For beginners, Ten is a pretty consistent listen – and its single, “Dead Dogs Two”, featured a rare Boards of Canada remix (Odd Nosdam later returned the favor, remixing “Dayvan Cowboy” in 2006).

cLOUDDEAD – “Dead Dogs Two (Boards of Canada Remix)”

The new remastering from Daddy Kev brings things to a better general level while respecting the extremely lo-fi origins of some of this material. Dig in and surf some clouds.

The Sound of metal

For decades, Electric Indigo aka Susanne Kirchmayr has explored the experimental nooks and crannies of techno and its adjacent microgenres. Following 2018’s 5 1 1 5 9 3, a granular-heavy album on Robert Henke’s Imbalance Computer Music, Kirchmayr moves to another impressive imprint, Editions Mego, for 2020’s Ferrum. Inspired by the sounds of metal (“ferrum” is the chemical name for iron), Ferrum sounds appropriately clangy, exploring digital synthesis and the metallic tones is enables.

While the album’s first two 10+ minute pieces focus more on evolving and immersing sounds (this is a headphone album par excellence), Kirchmayr’s affinity for and roots in techno come through on pounding numbers like “Ferrum 5” and “Ferrum 7”. 

Ed. I fell in love with this material when I first heard her live set associated with the releaseI think that may even have been the last time I was out in Berlin before the lockdowns, at about blank. Anyway, point of this story – this work is equally engaging live. If you’re thinking of whom to book in 2021…

A welcome return from Windy and Carl

Isolation lends itself well to drone music, and Detroit’s Windy Weber and Carl Hultgren are two of the best ever to do it. Eight years after their last album, new LP Allegiance and Conviction on Kranky is another winner full of the duo’s trademark heavenly guitar, bass, and organ soundscapes. Windy Weber’s singing, previously used on other albums as a sparing treat, is a more frequent feature this time around – and adds an extra emotional punch to the sonic tapestry. 

If we’re going to continue the navel-gazing narrative around “ambient” as a buzz term, we can pause and show some respect for truly classic artists who have advanced ambient music, and continue to provide engulfing and beautiful post-rock experiences with deceptively simple guitar and bass lines.

Iheartnoise hearts space rock

Having followed the label Iheartnoise for a while, I’m hard-pressed to pinpoint their specialty, other than perhaps “all that is outside the norm”. There’s label stalwart Petridisch’s plunderphonic collages (including a forthcoming MiniDisc exclusive release – take that, cassette fetish culture), and in another corner there’s the slow psychedelia of Skyjelly and Solilians, two acts whose split release forms Iheartnoise’s first-ever vinyl release.

Skyjelly’s side reminds me of back when Animal Collective was a bit more disjointed and noisy, while Solilians self-described “tireless Jewish space rock” sounds somewhere between a bootleg of Seefeel on “Gowron Breaths” and drone rockers Loop on the live “Planet”.

Until next time, you can tell David what you think of his opinions on Twitter.

The post Pairing mode: music to listen to right now – a new series appeared first on CDM Create Digital Music.

Alternate African Reality: reorient your listening with this terrific electronic compilation

Delivered... Peter Kirn | Labels,Scene | Fri 31 Jan 2020 7:02 pm

Don’t miss out on music – speaking of getting Africa back on your listening list, here’s an extraordinary, wide-reaching compilation of some of the most adventurous sounds from Africa and the diaspora.

Africa, it goes without saying, is a big place – uh, really big, 30.3 million km² or so, even before you get into artists moving elsewhere. (To misquote Douglas Adams, “you just won’t believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it’s a long way down the road to the chemist’s, but that’s just peanuts to Africa.”) But maybe thinking of music on the scale of continents and hemispheres is well suited to today’s interconnected age, as networks of artists and interchange span even bigger areas.

In any event, don’t expect this is some tokenized, surface-deep look at music duct-taped together from a massive land area. Alternate African Reality is but the latest in a series of superb compilations from Cedrik Fermont, aka C-drík (Belgium/DR Congo). There are few people as voracious and refined in their musical diet than Cedrik – even though he makes music as a solo artist, he’s constantly deep into discovery. To me, he’s emblematic of the best of how we can redefine what it means to be an artist in the Internet age – where creativity isn’t shut off from the outside, but partly about what you support and connect.

And that also means that Cedrik has had some chance to iterate on how to make a compilation on this scale, and where to find music.

The whole beauty of this sort of project is that the work is never done, there’s always too much music, the cup overflows with sound, and all of that is brilliant. But that means you should not only grab this comp, but also check out Cedrik’s platform Syrphe, “mostly but not exclusively focused onto experimental, electronic, noise music from Asia and Africa.”

The regional focus can shift all over the place in those categories, including the Middle East – Lebanon I see on the top of the list – but it’s all just generally great music, and stuff that often gets missed. Press in London focuses on musicians around London, and so on. I don’t even know that that’s a bad thing in and of itself, in that it is meaningful for some writers to talk about the scene around them. But it is equally essential that someone like Cedrik can balance out your inputs and give you fresh perspective, for anyone who loves musical discovery.

Here’s where to go for that – there’s a blog (time to dust off the RSS readers, folks):

https://syrphe.wordpress.com/

The blog is the best, but since we are on Facebook, it’s also nice to let electronic music take over what the Algorithm gives you, so see the Facebook group and page, too:

Syrphe – Experimental, noise, electronic, avant garde in Africa & Asia

https://www.facebook.com/Syrphe/

There’s so much stuff on Syrphe that it deserves another post, but meanwhile, have at the compilation. Just going to paste the full text, as it’s all worth reading. It’s been great to work with someone like Joseph aka KMRU a few times now, and equally nice to get some new names in here.

Alternate African Reality is a follow-up to several compilations I have published on Syrphe since 2007 (the first one, Beyond Ignorance and Borders included various artists from Africa and Asia), and even earlier on my defunct tape label in the 1990s (the last tape, Archives Humaines vol.1, was published in 1996 and included 25 artists from 25 countries, including non-Western ones : South Africa, Japan, Chile, Brazil).

Alternate African Reality could be seen as a drastic improvement of 30.2, a compilation released in 2012. The CD included nine artists from Tunisia, Morocco, Algeria, Egypt, Angola, Mauritius, South Africa, Réunion and Madagascar/France. But even if I was very happy with the result, I always thought I should do a deeper research, and another issue I faced was the fact that I didn’t manage to include any women in the project.

Travelling and touring throughout parts of Africa allowed me to meet many more artists than what I ever expected and pushed me to work on this new release.
This time, the end result reveals a more global compilation that could be compared to Uchronia, a compilation that includes 49 artists and bands from 32 Asian countries and the diaspora in the field of so called experimental music.
Alternate African Reality is nonetheless musically more diverse, including abstract but also beat-oriented music such as ambient, electronica, electroacoustic, noise, singeli, bass music, industrial hip hop, etc.

It includes 32 artists and bands from 24 African countries and the diaspora, and last but not least, 14 women are among those vibrant musicians and composers.

Of course the artists included on the compilation only represent a fraction of the African electronic music world, and the listeners should not believe that nothing exists outside of those countries.
Electronic, and, at a lower extend depending on where you look for, experimental music do exist in many other African countries.

I wish that this project will open some eyes and ears and also create more connections and networks.

You will find more information, contacts, biographies and a short essay in a PDF available with the whole compilation if you purchase the CDs or digital files.
Biographies, contacts and websites are also available on this page when you click on “info” next to each track.
You can also have a look at this database that contains more than 3000 references about African and Asian composers, musicians, labels, magazines and so on. syrphe.com/african&asian_database.htm

If for some valid reasons you cannot afford to buy this release, you can send a message and explain why and I might send you a download code.

I deeply thank all the artists involved and also those who for one reason or another could not participate this time as well as all the people who supported me and provided help and advises to make this project happen, those who hosted and invited me during all the travels I made throughout Africa : the Nyege Nyege team in Kampala, Mass Alexandria/Berit Schuck in Alexandria, East African Records Studios/David Cecil and his family in Kampala, Esaete (Naomi) in Kampala, Houdini in Kampala, Lukas Ligeti, Ignacio Priego, Rhéa Dally, Yebo! Contemporary Art Gallery in Ezulwini, the Rock House in Mbabane, Ground Zero – Marley Coffee in Cape Town, Chiharu Mizukami, Chihiro Sato, Paweł Kuźma, Lynda Kansas, Tengal Drilon, Jamir Adiong and his family, Vilho Nuumbala, Kamila Metwali, Sharon Tan, Olivier Moreau, Christopher Kirkley/Sahel Sounds, Nenad Vujić, David Kerr/Sign Records, Memory Biwa, Essia Mestiri, PJ/slowfidelity and many more, you know who you are !

Cedrik Fermont

The track order on the physical release differs from the one of the digital release.

Mash (Tunisia)
Pö (France/Ghana)
[MONRHEA] + Ejuku (Kenya/Uganda)
Jako Maron (Réunion)
Robert Machiri (Zimbabwe)
Ujjaya (France/Madagascar)
Ibukun Sunday (Nigeria)
KMRU (Kenya)
Cobi van Tonder (South Africa)
Redha M (Algeria)
Aurélie Nyirabikali Lierman (Belgium/Rwanda)
Shadwa Ali (Egypt)
Tiago Correia-Paulo (Mozambique)
Jacqueline George (Egypt)
AMET (Cameroon/Germany)
Hibotep (Ethiopia/Somalia)
Aragorn23 (South Africa)
The Age Of Heroes (South Sudan)
Beko The Storyteller (eSwatini)
Catu Diosis (Uganda)
Yao Bobby & Simon Grab (Togo/Switzerland)
Mario Swagga and DJ Silila (Tanzania)
AFALFL (Mauritania)
Rey Sapienz (DR Congo)
Ibaaku (Senegal)
Sukitoa o Namau (Morocco)
Victor Gama (Angola)
Luca Forcucci featuring Cara Stacey and Mpho Molikeng (Italy/Switzerland/South Africa/Lesotho)
C-drík (Belgium/DR Congo)
Emeka Obgoh (Nigeria)
Chantelle Grey (South Africa)
Ski Crime (South Africa)

Similar releases :
syrphe.bandcamp.com/album/uchronia
syrphe.bandcamp.com/album/not-your-world-music-noise-in-south-east-asia
syrphe.bandcamp.com/album/pekak-indonesian-noise-1995-2015-20-years-of-experimental-music-from-indonesia
syrphe.bandcamp.com/album/art-of-the-muses
syrphe.bandcamp.com/album/beyond-ignorance-and-borders
syrphe.bandcamp.com/album/pangaea-noise
syrphe.bandcamp.com/album/302
onemoretapeblog.blogspot.com/2015/02/title-archives-humaines-vol.html

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Here are the best Black Friday deals for electronic musicians

Delivered... Peter Kirn | Labels,Scene | Thu 28 Nov 2019 7:08 pm

Black Friday, Cyber Monday, Black Week – with so many to choose from, here are our favorite tech deals for music makers.

Got a deal?

Found a deal you want to share with other folks? Offering a deal yourself (as a developer, manufacturer, record label, whatever)? Tell us about it here:

CDM Turkey Tracker submissions

Our offers

Well, first from us – deals on the synth hardware and record label side projects of CDM!

MeeBlip geode synthesizers are $129 plus free shipping, anywhere. Through Monday.

MeeBlip thru5 kits are $9.99 (50% off!) – while supplies last. We expect to sell out before the deal ends end of day Monday.

Establishment Records on Bandcamp. All albums in our catalog are now 70% off through Monday evening. Plus look forward to new stuff from our spin-off record label in 2020 – some exciting plans in the works now. Enter code wearblack.

Software

Everything at Reason Studios is on sale for what they call “Rack Friday,” with discounts on Reason (now with AU support on Mac!) and lots of Rack Extensions – up to 90% off. https://www.reasonstudios.com/shop/deals/ – through December 2.

Ableton have 25% off Live 10, upgrades, and packs, meaning if you put off upgrading, now is the sign.

Arturia’s V Collection 7, full of basically every software recreation of classic electronic instruments you could imagine, is down to 299 $/EUR, along with other upcoming Arturia deals to watch. Also, even something like this sounds cooler in French. Behold: Obtiens la V Collection pour une prix exclusif Jusqu’au 5 décembre 2019. Ne rate pas cette occasion. Obtiens-la pour 299$/EUR. Ah, we sounds so crass in English, by comparison. Touché . https://www.arturia.com/black-friday-19

iZotope has discounts on software plus their Spire Studio hardware. Probably best of these is the $49 bundle of Elements Suite, DDLY, Mobius Filter, and Trash 2. Everything is on sale, though. Also great – the Music Production site (with Ozone 9 Advanced, Neutron 3 Advanced, etc.) for $399 and the bargain-basement-priced, awesome-sounding, light-on-CPU PhoenixVerb for $39. Through 12/6.

Output’s instruments have an extra 25% off – meaning the bundle of everything is now $/EUR 599.

puremagnetik’s unique collections of sounds and instruments are 50% through November 30, including some wonderful plugin instruments. Enter code BLACKFRIDAY19. Get a little granular after Thanksgiving dinner.

Eventide’s Anthology XI – the equivalent of a studio full of Eventide gear – is a full 75% off, for $499. That compares well to getting it via subscription, and it’s an outstanding deal. There’s also the excellent Elevate suite for 50% off. See the holiday sale page. Full disclosure: I live off the Anthology. The Eventide folder if it lived in the real world would have had its name worn off by now.

Time + Space have a rotating set of deals from a whole host of vendors. It may even be worth checking some of these deals versus the original developers.

On the same lines, pluginboutique.com have a bunch of deals on various vendors, and some of these discounts are exclusive, so comparison-shop if you’re stocking up. 50% off Softube or a stunning 80% off Soundtoys looks brilliant. On the Softube side, you can’t go wrong with the company’s amp simulations, for instance, and Modular add-ons are discounted, too. For Soundtoys, LittlePlate and EchoBoy Jr. are secret sauce for me, so I would absolutely endorse those two as they’re indispensible (or full EchoBoy for a little more).

Waves are letting you stock up with code BF50 at checkout, plus free plug-ins to choose when you spend more than $50.

Harrison’s new AVA plug-ins are 4-for-the-price-of-1, at $89 for the lot. See the AVA product page. These plug-ins I don’t know yet, but Harrison’s stuff typically sounds great.

Tracktion’s software is up to 65% off. That includes their DAWs, but also things like the MOK Waverazor and SpaceCraft instruments. Tons of inspiring stuff – code MIX2019 – through end of day December 4. https://www.tracktion.com

Cableguys do great stuff and they have their only sale of the year as this – “Until Cyber Monday, 2nd December 2019, the ShaperBox 2 Bundle of five powerful Cableguys effects – TimeShaper 2, VolumeShaper 6, FilterShaper Core 2, PanShaper 3, and WidthShaper 2 – is only €79 / $89. That’s a 50% saving compared to buying all five Shapers individually (€155 / $180).” https://www.cableguys.com/shaperbox.html

Kilohearts has deep discounts on their stuff through December 9 – https://kilohearts.com.

Metric Halo’s indispensible software, including SpectraFoo and the like, is on a sale up to 70%. https://www.mhsecure.com/mhdirect/home.php?cat=26 They’ve also got early access pricing on their hardware.

Mobile apps

cykle is a really cool step sequencer for iOS; it’s now 40%.

All of the superb Bram Bos iOS apps are on sale for $3.99 (or local equivalent), for some excellent synths, drum machines, MIDI tools, and more. See his developer page on the App Store.

The Atom piano roll (looper/sequencer, AUv3) is on sale for 50% off for iOS. It’s maybe your best bet for AUv3-compatible sequencing at the moment.

Some of our favorite synths/effects, Elastic Drums and Elastic FX, are 40% off until the end of the week. Check https://mominstruments.com.

Imaginando’s controller apps are the ones I’ve been using most lately on iOS, and they’re right now all 40% off. Through December 2.

.

Hardware

Erica Synths’ have 20% some of our favorite modules – the Fusion Series. https://www.ericasynths.lv/shop/eurorack-modules/by-series/fusion-series/ Through Saturday.

Also over in Riga, there’s the wonderful, independently-operated Gamechanger Audio. Their exceptionally unique Plus and Plasma pedals are 20% off, which is about as good a way to spend money as I can imagine. Check out their shop – https://www.gamechangeraudio.com/shop – through December 2. It’s a pretty big deal to do this as an independent maker, too – they admit they’re working 14-hour shifts to get the gear out – so do reward them!

Arturia hardware is on sale, so head into your local store (or order from them). That’s up to 50% off MiniBrute (and its rackable 2S sibling) and the unique DrumBrute. DrumBrute for 349 $/EUR is pretty astonishing and maybe reason to overlook even those remakes everyone else might be grabbing.

ROLI is running an insane discount of up to 50% off a lot of their Seaboard and Blocks hardware plus plug-ins. https://roli.com/black-friday-deals

Sweetwater has $300 off that Solid State Logic SiX we’ve all been coveting. It’s still the most expensive compact mixer you can buy, but … well, it’s a little more tempting, and come on, it’s still a chance to own your own little SSL.

Sweetwater also has a bunch of Universal Audio bundles and deals on their site. But maybe best is –

Moog Mother for $100 off.

Perfect Circuit also has a bunch of hardware for up to 40% off. That includes Moog DFAM for $100 off.

Visualist tools

Learning TouchDesigner? Stanislav Glazov has his superb tutorials on sale. 30 % Discount for all TouchDesigner Courses till 3rd of December. Use promocode 3DOFF at https://lichtpfad.selz.com/

garageCube are again celebrating “Mad Week” with 20% off software and 10% off hardware. Head to https://www.garagecube.com/product/ through December 2. This includes upgrade discounts, so it’s worth checking even if you’re already a customer.

Music labels

Big Semantica Records fan, and they’re 30% off with code blackfriday2019 on Bandcamp.

Florian Meindl as I said is doing some of the finest quality techno production out there, and now you can get all his tracks for 9EUR (really). Just go to an album page like this one – https://florianmeindl.bandcamp.com/album/nonlinear-times-remixes-black-asteroid-jeroen-search – and you’ll see the option.

Total Black records in Berlin obviously needs a Black Friday discount; they’re 70% off. Use code blackfriday.

Beautiful Seoul-based Oslated Records is 70% off, with code blackfriday.

I know a lot of indie labels must be doing Bandcamp sales, so do get in touch.

That covers Bandcamp, but see also Beatport for some deals – code CYBERSALE nets you as much as 50%, and you can use it twice before it expires on December 3.

Feature photo (the shopping cart) (CC-BY-SA-ND) Wim Bollen.

The post Here are the best Black Friday deals for electronic musicians appeared first on CDM Create Digital Music.

Teenage Engineering has a record label and a pocket modular pop music video

Delivered... Peter Kirn | Artists,Labels,Scene | Thu 23 May 2019 8:38 pm

Dear young Buster: why do you look so sad and lonely? Don’t you know that having a yellow Teenage Engineering pocket modular is all the love you need?

Okay, so Buster is in fact Millenial Swedish pop star up and comer Emil Lennstrand, and he is the first face of a record label (really) from the perpetually-open-to-creative-distraction crew of Teenage Engineering. You see, having done cameras for IKEA and marketing campaigns and various synthesizers and … bicycles and lamps and other things … the Teenagers are now getting into a record label.

It’s surprisingly silky-smooth pop from this otherwise fairly hypernerdy and experimental Stockholm shop. But it does predictably feature Teenage Engineering instruments – in this case the pocket operator modular.

They bill the song as “partly produced” by that system 400 (what – the modular isn’t used on the vocals?). But it’s slick stuff, for sure.

The other star of the music video is this – TE’s pocket operator modular series.

So what’s up with the record label? It’s tough to tell from this one track, but here’s what the Teenagers say for themselves:

first teenage engineering started their own band to field test their instruments. now they are taking the next step starting a record label for songs made with teenage engineering products. there are just two rules, it needs to be a good song (easy) and have at least one of teenage engineerings instruments used in the song. the main distribution platform for their releases will be spotify.

Now that’s some serious Swedish loyalty, going Spotify only.

I’m slightly confused, but intrigued. To my mind, the OP-Z remains the best thing recently from Teenage Engineering hands down, but stay tuned for my explanation of why I feel that way.

And there’s more Teenage Engineering stuff to come, including me joining them in Barcelona during SONAR+D this summer – which means a chance to grill them for more information, of course.

https://teenage.engineering/

The post Teenage Engineering has a record label and a pocket modular pop music video appeared first on CDM Create Digital Music.

Enter the freaky trippy acid 90s German synth world of Air Liquide

Delivered... Peter Kirn | Artists,Labels,Scene | Wed 22 May 2019 12:02 pm

If you need a break from buttoned-up techno, dance music as business and fashion statement and morose wallpaper – take a holiday with some “trippy mindfkk-muzzikkk.” Here, we’ve got 170 tracks from 1991 Cologne to today to get utterly weird.

In 1990s Cologne, if the techno scene was spread too thin, you could just manufacture a few dozen aliases and DIY the whole thing. At least that seems to be the approach taken by our friends Air Liquide, aka Cem Oral and Ingmar Koch, and a half dozen or so core artists – a band of buddies making weirdo sounds. See the full alias list at bottom, but DJ DB (aka DB Burkeman) traced the history of the duo for the now-defunct THUMP from VICE:

DB’s No School Like the Old Skool: Air LiquideMeet the German analogue techno duo that rocked the 90s underground with a hundred different pseudonyms.

Now, just when you thought it was safe to go back to Germany, Air Liquide have returned to make European electronics mindfkked again.

We’ve got over 16 hours – 170 tracks – on streaming services like Spotify, chronicling the evolution (or whatever it was) of Air Liquide from 1991 through today. The sounds are futuristic, spacey, hyperactive, bizarre – everything in turns. You know you need some broken ultra-fast acid piping through Spotify on your next workout, of course:

via Spotify playlist

Details:


“AIR LIQUIDE – almost complete” – spotify playlist with over 16 hours of trippy mindfkk-muzzikkk

It includes, for instance, tracks inspired by the TV show Robot Wars:

Or here’s a track compiled by Loveparade founder Dr. Motte:

If you like what you hear, you can download those releases now, on iTunes:
https://itunes.apple.com/us/artist/air-liquide/5352330#see-all/full-albums

and on Beatport:
https://www.beatport.com/artist/air-liquide/7230/releases

But in addition to that history, their label Blue is back.

Maybe this comes at an ideal time. With so many records sounding like generational loss – copies of copies of 90s records, watered down and sanitized and fed through Instagram – the new Air Liquide project is both real media archaeology and real invention. You get remasters and rereleases of the actual original records, and – this is important – they’re making new stuff.

Air Liquide are back.

So albums like Liquid Air and Mercury EP are returning on colored vinyl and cheap-for-everybody digital. But you can also expect new creations, like a mini-album called “ALTR” which they’ve let CDM know they’re finishing now with German rave legend t.raumschmiere. And there’s upcoming collaboration with American poet Mary S. Applegate – yes, the cousin of Christina Applegate – later this year, along with other releases.

There’s even some unreleased 1992-93 era stuff in store, they tell us.

They’re also acting as our guides through other freaky sounds, as on this new Spotify playlist “Der lärm der stille“.

Included is “some crazy tripmusic we love – paired with some of our own brain fkk trax” – up to 94 tracks and over 8 hours so far, from around the world and the years:

Their favorite machines

One thread through all this music is a real, profound love for sound and electronics – and synths and noisemakers and effects, like, everywhere.

CDM asked for some of the duo’s favorite stuff, and here’s what they’ve come up with:

dr walker:
drummachines:
erica synths technosystem
akai mpc3000 (modded)
akai mpc60 mk 1 (modded)
ensoniq asr x (modded)
superpocketoperator build by doc analog with 2x teenage engineering po32, ipad with patterning2 and erica synths fusion valve filters. all in an old army flightcase
roland tr8s
endorphin.es black noir with twisted electrons crazy8beats

synths
acd666
polyend medusa
erica synths liquid sky dada noise system
acl system 1
native instruments thrill
erica synths bassline
twisted electrons therapkid
gamechanger audio motorsynth
izotope iris 2

effects:
ninja tune zendelay
erica synths & gamechanger audio plasmadrive
bastl instruments dark matter
crazy tube circuits stereo splash mk III
snazzy fx wownflutter
catalinbread csidman

on the wishlist:
sequential rev2
korg prologue 16
emu e II+ (modded)
roland 750 (modded)
superlatives sb1 spacebee

Postlude: namedrop this, m************:

Yeah, okay, starting a sentence with “maybe you’ve heard of” with Air Liquide could take a while if you want to check on all their aliases. From the VICE report – amazingly, possibly even incomplete:

Madonna 303, Black One, Digital Dirt Inc, Ingy-Babe, John Amok, Unit 700, Acid All Stars, Der Tote, DR. Echo, Free Radicals, Flüssige Luft, G 104, Message, Oral Experience, Alpha Unit, Basstards, The, Bionic Skank, Cipher Code, Cube 40, Denpasar, Electronic Dub, Ethik II, Even Brooklyn Grooves, Fridge Pro 1, Future Shock Project, Futuristic Dub Foundation, G.L. Posse, German Electronic Foundation, M.F.A., Mental Bazar, Multicore L.T.D., Non Toxique Lost, Outernational Steppers, Restgeraeusch, Rub-A-Slide, Set Fatale, Slime Slurps, , Time Tunnel, Titanium Steel Screws, Tone Manipulators, Trancemagma, Dzeta Walker, Ultrahigh, UMO, Vene, View Point Odyssey, Zulutronic, Black One, Digital Dirt Inc, Dr. Walker, Ingy-Babe, John Amok, 370°, Acid Force, Air Liquide, Alternate States, Atlantic Trance, Bleep, The, Brotherz In Armz, Cipher Code, Commando, The Creature, Denpasar, Dr. Walker & Electro Atomu, Dr. Walker & M. Flux, Electrochic, Electronic Dub, Elevator 101, Ermionis Phunk Crew, Ethik II, Fridge Pro 1, Future Shock Project, German Electronic Foundation, Gizz TV & Walker, Global Electronic Network, Helden Der Revolution, House Hallucinates, GEF, Khan & Walker, Lovecore, Mental Bazar, Mono-Tone, Multicore L.T.D., Pierrot Premier, Planet Love Ink, Planet Lovecore, Psychedelic Kitchen, Radiowaves, Recall IV, Red Light District, Rei$$dorf Force, Resist 101, South 2nd, Stardate 1973, Structure, Tantra-M, Technoline, Time Tunnel, Trancemagma, Trip 2001, Unbelievable, Unlimited Pleasure, Vermona, View Point Odyssey, Dr. W and X-911.

They have shared this new short bio/history with us, to give you the full story:

AIR LIQUIDE

Born out of innovation & originality, Air Liquide are for many people one of contemporary electronic music cultures most pioneering, important and inspiring projects.

Cem Oral aka Jammin Unit and Ingmar Koch (Dr.Walker) first met in 1989 in a Studio in Frankfurt Main, in Germany. As it often is when like attracts like, it wasn’t long before they recognized their mutual love, not only for experimental, abstract and lo-fi musics but also for Alien, Bigfoot, Telepathy stories of Parallel Universes and Fairytales with a somewhat darker side. So it was just a matter of time before the two were getting together in the studio at the end of their respective dayshifts, to commence their own nightshift recording sessions of abstract noise, cut-ups and experimental soundscapes.

As well as Techno itself, likewise Acid, Industrial Noise, Ernste Musik, Ambient, Kraut Rock, Space-rock, 70s Psychedelia Underground Hip Hop and Musique Concrete were all somehow present and in the mix of the evolving Air Liquide sound, sitting comfortably and perfectly at home with elements of Turkish and Arabian traditional Music’s. The production process took on board a similar innovative and pioneering approach in its fusion of Modern Dub paired with the intensity of the all important groundbreaking Roland 909, 808, 303 and 101 must have technology of the day.

In 1991, they formed Air Liquide.

The fusion that was created boldly incorporated a past it was proud of, free of revivalism or plagiarism, clearly created in and reflecting undeniably a soundscape for the here and now that proclaimed uncompromisingly and assuredly, welcome to the future!

In keeping with every other aspect of their venture, Cem and Ingmar followed their intuition and instincts rather than established tradition, and immersed themselves in freestyle jam sessions, recording the entire one or two hours that they lasted. Upon later listening it would be decided if any parts of the jam session were up to the pairs criteria to be edited out and tweeked into tracks for release.
This is the paradigm within which the Air Liquide creative process birthed “Neue Frankfurter Elektronik Schule”, their first record, released in 1991 on their own label ”Blue”. The first pressing of 1000 copies, released on coloured vinyl, sold out in the first hour after its release!

This was a remarkable achievement, for an unknown band without any direct link to the House Music Scene. Via experimentation Air Liquide reintroduced a living breathing life affirming energy into contemporary music culture, much the same as techno and house did via rave and most importantly dancing. No surprise then that in a very short space of time, accolades like ‘The true heirs to Can’, ‘The Greatful Dead of Techno’ & ‘The spearhead of German Techno’ were incoming thick and fast from the International Music press. Their mixture of Hip Hop, Psyche & Krautrock, Acid & Techno endeared them to a rapidly established and increasing fan base around the Cologne area.

Their eclecticism, originality and self respect, as apparent in a seemingly “no respect for any rules” approach endeared them to that international music press, fans and professionals alike, especially as those professionals were born of the same spirit, as it had been in their own break through years. Like attracts like, the true fans of such musics, such fusions and the spaces that are created for and by these musics, of course could and can feel that, and step up to support it without question.

Then you have guests at your live jams like Michael Rother, Holger Czukay, Luke Vibert, Helmut Zerlett, Craig Anderton, Arno Steffen, Caspar Pound, Fm Einheit. Then your 100% improvised live shows successfully bring surprise, ecstasy, the unexpected and exactly all that people are wanting from you, as well in ways they are not expecting, all in a guaranteed we deliver way, regardless however it may be presented. Then you will be invited to join the roster of USA sm:)e records, the cult sub-label of Profile, that being the label of Run DMC. Likewise in UK, being asked to release on Casper Pounds all important Rising High Records.

And when your fusion of the experimental soul of contemporary electronica and krautrock creates such a superb and flawless fusion that fans from both sound spectrums love you for it, well then one of the all time forward thinking labels ever, Harvest records, will come out of retirement and re activate solely for the purpose of releasing your recordings.

Which is exactly what happened in 1993. That happens if you mean what your doing and if what you are doing is truly valid and unquestionably relevant.

Air Liquide were inspired, moulded by and arose from within that timeless borderless creative Freezone that births truly great Sound & Vision in every respect. It is where they still reside, and it is from there that they now re-emerge to mark 3 decades of living on the frontiers of International ground breaking contemporary ahead of the curve Music, Art, and attendant Technology subcultures.

Air Liquide represent the ultimate fusion of ideals, not believing the hype, not being swayed by past or present dogmas and staying true to their innermost aims and feelings, without question. The real thing if you will. Air Liquide were since their inception in 1991, always have been and still are very much the real thing, through and through!

Modern photos by George Nebieridze; all pictures courtesy Air Liquide.

The post Enter the freaky trippy acid 90s German synth world of Air Liquide appeared first on CDM Create Digital Music.

No, Beatport’s subscription will not kill music – here’s how it really works

Delivered... Peter Kirn | Labels,Scene | Fri 17 May 2019 7:18 pm

Pioneer and Beatport this week announced new streaming offerings for DJs. And then lots of people kind of freaked out. Let’s see what’s actually going on, if any of it is useful to DJs and music lovers, and what we should or shouldn’t worry about.

Artists, labels, and DJs are understandably on edge about digital music subscriptions – and thoughtless DJing. Independent music makers tend not to see any useful revenue or fan acquisition from streaming. So the fear is that a move to the kinds of pricing on Spotify, Amazon, and Apple services would be devastating.

And, well – that’s totally right, you obviously should be afraid of those things if you’re making music. Forget even getting rich – if big services take over, just getting heard could become an expensive endeavor, a trend we’ve already begun to see.

So I talked to Beatport to get some clarity on what they’re doing. We’re fortunate now that the person doing artist and label relations for Beatport is Heiko Hoffmann, who has an enormous resume in the trenches of the German electronic underground, including some 17 years under his belt as editor of Groove, which has had about as much a reputation as any German-language rag when it comes to credibility.

TL:DR

The skinny:

Beatport LINK: fifteen bucks a month, but aimed at beginners – 128k only. Use it for previews if you’re a serious Beatport user, recommend it to your friends bugging you about how they should start DJing, and otherwise don’t worry about it.

Beatport CLOUD: five bucks a month, gives you sync for your Beatport collection. Included in the other stuff here and – saves you losing your Beatport purchases and gives you previews. 128k only. Will work with Rekordbox in the fall, but you’ll want to pay extra for extra features (or stick with your existing download approach).

Beatport LINK PRO: the real news – but it’s not here yet. Works with Rekordbox, costs 40-60 bucks, but isn’t entirely unlimited. Won’t destroy music (uh, not saying something else won’t, but this won’t). The first sign of real streaming DJs – but the companies catering to serious DJs aren’t going to give away the farm the way Apple and Spotify have. In fact, if there’s any problem here, it’s that no one will buy this – but that’s Beatport’s problem, not yours (as it should be).

WeDJ streaming is for beginners, not Pioneer pros

This first point is probably the most important. Beatport (and SoundCloud) have each created a subscription offering that works exclusively with Pioneer’s WeDJ mobile DJ tool. That is, neither of these works with Rekordbox – not yet.

Just in case there’s any doubt, Pioneer has literally made the dominant product image photo some people DJing in their kitchen. So there you go: Rekordbox and and CDJ and TORAIZ equals nightclub, WeDJ equals countertop next to a pan of fajitas.

So yeah, SoundCloud streaming is now in a DJ app. And Beatport is offering its catalog of tracks for US$14.99 a month for the beta, which is a pretty phenomenally low price – and one that would rightfully scare labels and artists.

But it’s important this is in WeDJ as far as DJing. Pioneer aren’t planning on endangering their business ecosystem in Rekordbox, higher-end controllers, and standalone hardware like the CDJ. They’re trying to attract the beginners in the hopes that some of those people will expand the high end market down the road.

By the same token, it’d be incredibly short-sighted if Beatport were to give up on customers paying a hundred bucks a month or so on downloads just to chase growth. Instead, Beatport will split its offerings into a consumer/beginner product (LINK for WeDJ) and two products for serious DJs (LINK Pro and Beatport CLOUD).

And there’s reason to believe that what disrupts the consumer/beginner side might not make ripples when it comes to pros – as we’ve been there already. Spotify is in Algoriddim’s djay. It’s actually a really solid product. But the djay user base doesn’t impact what people use in the clubs, where the CDJ (or sometimes Serato or TRAKTOR) reign supreme. So if streaming in DJ software were going to crash the download market, you could argue it would have happened already.

That’s still a precarious situation, so let’s break down the different Beatport options, both to see how they’ll impact music makers’ business – and whether they’re something you might want to use yourself.

Ce n’est pas un CDJ.

Beatport LINK – the beginner one

First, that consumer service – yeah, it’s fifteen bucks a month and includes the Beatport catalog. But it’s quality-limited and works only in the WeDJ app (and with the fairly toy-like new DDJ-200 controller, which I’ll look at separately).

Who’s it for? “The Beginner DJs that are just starting out will have millions of tracks to practice and play with,” says Heiko. “Previously, a lot of this market would have been lost to piracy. The bit rate is 128kbs AAC and is not meant for public performance.”

But us serious Beatport users might want to mess around with it, too – it’s a place you can audition new tracks for a fairly low monthly fee. “It’s like having a record shop in your home,” says Heiko.

Just don’t think Beatport are making this their new subscription offering. If you think fifteen bucks a month for everything Beatport is a terrible business idea, don’t worry – Beatport agree. “This is the first of our Beatport LINK products,” says Heiko. “This is not a ‘Spotify for dance music.’ It’s a streaming service for DJs and makes Beatport’s extensive electronic music catalog available to stream audio into the WeDJ app.” And yeah, Spotify want more money for that, which is good – because you want more money charged for that as a producer or label. But before we get to that, let’s talk about the locker, the other thing available now:

WeDJ – a mobile gateway drug for DJs, or so Pioneer hopes. (NI and Algoriddim did it first; let’s see who does it better.)

Beatport CLOUD – the locker/sync one

Okay, so streaming may be destroying music but … you’ve probably still sometimes wanted to have access to digital downloads you’ve bought without having to worry about hard drive management or drive and laptop failures. And there’s the “locker” concept.

Some folks will remember that Beatport bought the major “locker” service for digital music – when it acquired Pulselocker. [link to our friends at DJ TechTools]

Beatport CLOUD is the sync/locker making a comeback, with €/$ 4.99 a month fee and no obligation or contract. It’s also included free in LINK – so for me, for instance, since I hate promos and like to dig for my own music even as press and DJ, I’m seriously thinking of the fifteen bucks to get full streaming previews, mixing in WeDJ, and CLOUD.

There are some other features here, too:

Re-download anything, unlimited. I heard from a friend – let’s call him Pietro Kerning – that maybe a stupid amount of music he’d (uh, or “she’d”) bought on Beatport was now scattered across a random assortment of hard drives. I would never do such a thing, because I organize everything immaculately in all aspects of my life in a manner becoming a true professional, but now this “friend” will easily be able to grab music anywhere in the event of that last-minute DJ gig.

By the same token you can:

Filter all your existing music in a cloud library. Not that I need to, perfectly organized individual, but you slobs need this, of course.

Needle-drop full previews. Hear 120 seconds from anywhere in a track – for better informed purchases. (Frankly, this makes me calmer as a label owner, even – I would totally rather you hear more of our music.)

There should be some obvious bad news here – this only works with Beatport purchased music. You can’t upload music the way some sync/locker services have worked in the past. But I think given the current legal landscape, if you want that, set up your own backup server.

What I like about this, at least, is that this store isn’t losing stuff you’ve bought from them. I think other download sites should consider something similar. (Bandcamp does a nice job in this respect – and of course it’s the store I use the most when not using Beatport.)

The new Beatport cloud.

Beatport LINK Pro – what’s coming

There are very few cases where someone says, “hey, good news – this will be expensive.” But music right now is a special case. And it’s good news that Beatport is launching a more expensive service.

For labels and artists, it means a serious chance to stay alive. (I mean, even for a label doing a tiny amount of download sales, this can mean that little bit of cash to pay the mastering engineer and the person who did the design for the cover, or to host a showcase in your local club.)

For serious users using that service, it means a higher quality way of getting music than other subscription services – and that you support the people who make the music you love, so they keep using it.

Or, at least, that’s the hope.

What Beatport is offering at the “pro” tiers does more and costs more. Just like Pioneer doesn’t want you to stop buying CDJs just because they have a cheap controller and app, Beatport doesn’t want you to stop spending money for music just because they have a subscription for that controller and app. Heiko explains:

With the upcoming Pioneer rekordbox integration, Beatport will roll out two new plans – Beatport LINK Pro and Beatport LINK Pro+ – with an offline locker and 256kbps AAC audio quality (which is equivalent to 320kbps MP3, but you’re the expert here). This will be club ready, but will be aimed at DJs who take their laptops to clubs, for now. They will cost €39,99/month and €59,99/month depending on how many tracks you can put in the offline locker (50 and 100 respectively).

You’ll get streaming inside Rekordbox with the basic LINK, too – but only at 128k. So it’ll work for previewing and trying out mixes, but the idea is you’ll still pay more for higher quality. (And of course that also still means paying more to work with CDJs, which is also a big deal.)

And yeah, Beatport agree with me. “We think streaming for professional DJ use should be priced higher,” says Heiko. “And we also need to be sure that this is not biting into the indie labels and artists (and therefore also Beatport’s own) revenues,” he says.

What Heiko doesn’t say is that this could increase spending, but I think it actually could. Looking at my own purchase habits and talking to others, a lot of times you look back and spend $100 for a big gig, but then lapse a few months. A subscription fee might actually encourage you to spend more and keep your catalog up to date gig to gig.

It’s also fair to hope this could be good for under-the-radar labels and artists even relative to the status quo. If serious DJs are locked into subscription plans, they might well take a chance on lesser known labels and artists since they’re already paying. I don’t want to be overly optimistic, though – a lot of this will be down to how Beatport handles its editorial offerings and UX on the site as this subscription grows. That means it’s good someone like Heiko is handling relations, though, as I expect he’ll be hearing from us.

Really, one very plausible scenario is that streaming DJing doesn’t catch on initially because it’s more expensive – and people in the DJ world may stick to downloads. A lot of that in turn depends on things like how 5G rolls out worldwide (which right now involves a major battle between the US government and Chinese hardware vendor Huawei, among other things), plus how Pioneer deals with a “Streaming CDJ.”

The point is, you shouldn’t have to worry about any of that. And there’s no rush – smart companies like Beatport will charge sustainable amounts of money for subscriptions and move slowly. The thing to be afraid of is if Apple or Spotify rush out a DJ product and, like, destroy independent music. If they try it, we should fight back.

Will labels and artists benefit?

If it sounds like I’m trying to be a cheerleader for Beatport, I’m really not. If you look at the top charts in genres, a lot of Beatport is, frankly, dreck – even with great editorial teams trying to guide consumers to good stuff. And centralization in general has a poor track record when it comes to underground music.

No, what I am biased toward is products that are real, shipping, and based on serious economics. So much as I’m interested in radical ideas for decentralizing music distribution, I think those services have yet to prove their feasibility.

And I think it’s fair to give Beatport some credit for being a business that’s real, based on actual revenue that’s shared between labels and artists. It may mean little to your speedcore goth neo-Baroque label (BLACK HYPERACID LEIPZIG INDUSTRIES, obviously – please let’s make that). But Beatport really is a cornerstone for a lot of the people making dance music now, on a unique scale.

The vision for LINK seems to be solid when it comes to revenue. Heiko again:

LINK will provide an additional revenue source to the labels and artists. The people who are buying downloads on Beatport are doing so because they want to DJ/perform with them. LINK is not there to replace that.

But I think for the reason I’ve already repeated – that the “serious” and “amateur”/wedding/beginner DJ gulf is real and not just a thing snobs talk about – LINK and WeDJ probably won’t disrupt label business, even that much to the positive. Look ahead to Rekordbox integration and the higher tiers. And yeah, I’m happy to spend the money, because I never get tired of listening to music – really.

And what if you don’t like this? Talk to your label and distributor. And really, you should be doing that anyway. Heiko explains:

Unlike other DSP’s, Beatport LINK has been conceived and developed in close cooperation with the labels and distributors on Beatport. Over the past year, new contracts were signed and all music used for LINK has been licensed by the right holders. However, if labels whose distributors have signed the new contract don’t want their catalog to be available for LINK they can opt out. But again: LINK is meant to provide an additional revenue source to the labels and artists.

Have a good weekend, and let us know if you have questions or comments. I’ll be looking at this for sure, as I think there isn’t enough perspective coming from serious producers who care about the details of technology.

https://www.beatport.com/get-link

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Experimental Ukrainian music, through a looking glass

Delivered... Peter Kirn | Artists,Labels,Scene | Sun 7 Apr 2019 5:19 pm

April is a generous month for fans of unusual Ukrainian compilations – now having covered new braindance from the country, we’re directed by readers to another set, giving a tour of experimentalism and electronic composition.

Flaming Pines is a wonderful label for experimental music, also setting up its virtual home on Bandcamp, that last best hope for underground digital downloads and physical releases. Check their full catalog for adventurous sounds from 9T Antiope (great stuff) to Kate Carr (seriously, just go give those a listen). The label, a transplant from Sydney to London, has also taken on a number of tours of experimental electronic scenes in far-off locales, including a gorgeous Iranian compilation called Absence, and up-and-coming Vietnamese avant garde in Emergence.

It’s not so much exoticism the label seems to find as threads connecting kindred spirits. And now, having plumbed the depths of mystical sound in Ukrainian duo Gamardah Fungus, the label brings back half of that duo to curate a selection of sounds from that motherland. Igor Yalivec is the guide here, leading us in just twelve tracks to some highlights of established compositional voices and younger contributions alike. Igor you’ll also find showing off modular musicianship as a solo artist in addition to working in the duo:

Guitar and electronics yield magical metallic timbres like a lucid dream, in the work of Gamardah Fungus – some potent brew of remembered folklore and time-warped futurism. It’s Slavic spirit ambient, but always inventive – modal melodies tensely wandering about layers of tape and sound:

So this was a perfect starting point for Kaleiodoscope. That leads to Alla Zahaikevych (aka Zagaykevych) – her work spanning traditional concert music training, historical folk singing technique (with over a decade singing in an ensemble dedicated to the practice), and founding the Electronic Music Studio of Kyiv’s National Music Academy of Ukraine. I can’t think of many composers covering that many directions in a single career worldwide, making her a leader on that stage as well as in Ukraine.

Or there’s Andrey Kiritchenko, obsessively prolific generation X-aged composer who founded the cutting-edge Nexsound label – and has worked with names like Kim Cascone, Francisco López, Andreas Tilliander, Frank Bretschneider, Scanner, Charlemagne Palestine, and many others.

But thinking in generations or separating academy from disreputable underground – it’s fitting that we cross those borders freely now. So it’s an easy step to a younger artist like Motorpig, a visceral, dark project spanning techno, industrial, and experimental veins – and things that are none of those, but rather ambient, undulating merry-go-rounds of texture. (Been a while since there was new Motorpig, so I’m up for any new track):

To come full circle, understanding the reason for this journey out to Ukraine, it’s worth hearing the terrifically nuanced sound world of Flaming Pines’ own Kate Carr. These are ambient soundscapes that breathe and ache, as precarious and fragile as evidently the artist was recording them – “sliding about in freezing mud on steep inclines.” And maybe that’s what this is all about – music that invokes deep spirits and puts itself in positions of extreme difficulty, all to catch fleeting moments of beauty.

So the compilation promises great things – like this utterly chilling vocal composition by Alla Zagaykevych, some evidently convolved, ghostly sound that seems to be about to blow away like frost:

Also in future-vocal territory, Andrey Kiritchenko delivers a chanting vocoder:

The art, at top, also comes from Ukraine – artist Alina Gaeva. I look forward to the compilation coming out on April 22 – but there’s plenty of link holes to drain our PayPal accounts on Bandcamp in the meantime.

https://flamingpines.bandcamp.com/album/kaleidoscope

And all of this makes a nice contrast to that naive nerdy braindance business from a couple of days ago. Previously, on “there’s a lot of really cool music from Ukraine on Bandcamp now and it’s worth dropping doing other things to talk about it”:

From Ukraine, a compilation to resist normality and go braindance

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From Ukraine, a compilation to resist normality and go braindance

Delivered... Peter Kirn | Artists,Labels,Scene | Thu 4 Apr 2019 5:02 pm

The letters titling the release spell out, in Cyrllic, “sh**s.” And more than just another dull compilation, this collection of tracks is a statement – in opposition to commercialism and homogeny, in favor of “braindance” weirdness.

The earnest voices of the ШЩЦ creators intone their explanation in an ‘intro’ track you get with the download. “We have power to … make it not commercial, to make it true, to make it native,” they explain – “emotional music, true music from true people.” 23 artists were picked out of hundreds, and the result is a pay-what-you-will Bandcamp release plus a DVD physical copy. (Just got a confirmation – the DVD I impulse-bought is coming in the mail. This should complete my antiquated release format bingo, alongside floppies and game cartridges and VHS tapes and so on….)

ШЩЦ is a party in Kyiv as well as this first music release, and so in addition to lots of new names, you’ll see the likes of Stanislav Tolkachev. The collective itself is based in the capital city, but connects a group from around the country.

You’ll find some magical and surprising arrangements here. And in an age that so often trends between molasses-thick irony and nostalgia on one hand, or dark dystopia on the other, this is music that that’s free, experimental, and optimistic. Just to name a few favorites, and I like this top to bottom – Xtal’s “A-Body” shimmers with cascades of glistening tunes across a frosty-rich percussion bed. Sztvo’s “Heaton” is equally gorgeous, sunlit-warm stuff. “Famergame” is total insanity, by Potreba – please, please DJ with this and invite me. Jubex “Pass In The Dust” feels almost like the Detroit-Kyiv electro connection, with some dry digital newness thrown in. “Hibernation” by S+ is frenetic and urgent. And yeah, Tolkachev’s contribution sounds like there was a transporter accident on the disco floor. Everywhere there are rhythms that range from frantic digital streams to dorky awkward irregularity.

We’ve heard these timbres and rhythms before, but to me ШЩЦ is a sign that what was once high-falutin’ computer craft has become downright punk – and just as easy and spontaneous, rather than sounding overworked or off-putting.

Ukraine now post-revolution is like UK 90s, they argue. But hey, UK or not, why not go oldschool by making connections just by putting together some tracks and being decidedly weird. More of that, please.

“Listen on Bandcamp … and also, wherever in Internet.”

Word.

http://ssshitsss.bandcamp.com/album/various-artists-01

I also dig that their description reads like a manifesto:

ШЩЦ (SHITS) is a new Ukrainian label that started as a club night in December 2016. It was founded by A-Body, Bodya Konakov and their friends and promotes ‘Braindance’ — a much loved and misunderstood genre of electronic music, forgotten by some and indeed new to others, especially in Ukraine. Label founders want to show a kind of ‘family’ of ukrainian artists (by no means a monopoly) who introducing more freedom and versatility to music. These artists feel that there is a void in the country’s dance music that few were attempting to fill so ШЩЦ (SHITS) aims to demonstrate to the rest of the world that Ukrainian braindance music can be entirely original. Also, it disregards the all-to-common commercial genres and wants to show alternative side of dance music.

They tries to demonstrate this in VARIOUS ARTISTS ШЩЦ01, a DVD compilation.

The compilation features 23 musicians from Ukraine, which makes innovative, but at the same time emotional music. This is the friends of the label who have repeatedly performed at concerts and parties of the ШЩЦ (SHITS), including such names as Stanislav Tolkachev, A-Body, Wulffius, Potreba, Sommer, Tofudj, Sasha Very, Acid Jordan, etc.

Also label places equal importance on the evolution of fresh artists on the scene and aims to offer a fair contract for everyone.

The post From Ukraine, a compilation to resist normality and go braindance appeared first on CDM Create Digital Music.

Two free plug-ins and a music label take you into ambient worlds

Delivered... Peter Kirn | Labels,Scene | Thu 28 Mar 2019 6:42 pm

What’s to say a music idea can’t be both a tool and a tape, an instrument someone could play or an album they can get lost in? Puremagnetik are launching their new experimental label with two free tools that let you keep the drones and grains and ambient soundscapes flowing.

There’s a bunch of hype this week because Warner Music signed an algorithm. And in turn with everyone abusing the term “AI,” you might well think that a computer has automated a composer’s job. Except that’s not what happened – in the long tradition of algorithmic music, a group of composers applied their ideas to the development of software. One of the first apps launched for the iPhone, in fact, was the Brian Eno – Peter Chilvers “Bloom.” Endel has more in common with Bloom, I’d argue, than it does some dystopia where unseen, disembodied AI come to rob you of your lucrative ambient music recording contract. (At least, we’re not there yet. Endel is here in Berlin; I hope to talk to them soon – what they’ve done sounds very interesting, and maybe not quite what the press have reported.) Bloom in turn was a follow-up to Eno’s software-based generative music releases. Ableton co-founders Gerhard and Robert released software in the 90s, too.

So let’s talk about the role of musician as blurred with the role of instrument builder. Soundware and software shop Puremagnetik is made by musicians; founder Micah Frank was moonlighting in sound design for others as he worked on his own music. While this may come as shocking news to some, it turns out for many people, selling music tools is often a better day job than selling music or music performances. (I hope you were sitting down for that bombshell. Don’t tell my/your/anyone’s parents.)

But there are many ways to express something musically. Many of us who love tools as we do love playing live and recording and listening do so because all of these things embody sound and feeling.

It’s fitting, then, that Puremagnetik are launching their own record label to house some of the recorded experiments – Puremagnetik Tapes, which already has some beautiful music on cassette and as digital downloads.

And the perfect companion to those albums is these two free plug-ins. Like the label, they promise a trip for the mind.

The two first tapes (also available as digital)… gorgeous sound worlds to lose yourself in on loop.

The label announces it will focus on “experimental, ambient and acousmatic music.” That already yields two enchanting ambient forays. “Into a Bright Land” is in turns crystalline and delicate, warm and lush as a thick blanket. It’s Micah Frank himself, releasing under his Larum moniker. The musical craft is a digital-analog hybrid, part synths and tape machines – the kind the company has been known for sampling in its sound work – and partly Micah’s intricate custom coding work in the free environment Csound.

https://puremagnetik.com/collections/tapes/products/larum-into-a-bright-land

To accompany Into a Bright Land, there’s the plug-in “Expanse,” a “texture generator,” with a combination of “texture tone” filter, spectral blurring, adjustable pitch shift, and a healthy supply of noise generation and space.

Its drones and sonic landscapes draw from that same world.

Tyler Gilmore aka BlankFor.ms has crafted “Works for Tape and Piano,” pushing each instrument to its most vulnerable place, the tape itself becoming instrument, sounding almost as if at the point of a beautiful breakdown.

https://puremagnetik.com/collections/tapes/products/blankfor-ms-works-for-tape-and-piano

Since you can’t just borrow Tyler’s tape machines and such, Driftmaker is a digital equivalent – a “delay disintegration” device. Add your own audio, and the plug-in will model analog deterioration. The artist himself supplies the presets. Again, you have plenty of control – “parse” which sets the record buffer, “chop” which determines how much to recall, and then controls for delay, modulation, filtering, and wet/dry.

Both plug-ins are free with an email address or Gumroad login.

…and the plug-ins, each created to aesthetically accompany the albums.

There’s a pattern here, though. Far from a world where artists remove themselves from craft or automate the hard work, here, artists relish in getting close to everything that makes sound. They make music the hard way because each element of DIY is fun. And then they share that same fun. It might well be the opposite of the narrative we’re given about AI and automation (and I suspect that may also mean artists don’t approach machine learning for music in the way some people currently predict).

Or, well, even if you don’t believe that, I think you’ll easily lose whole evenings with these albums and plug-ins alike.

Details:

https://puremagnetik.com/blogs/news/two-free-plugins-expanse-driftmaker

Requirements: macOS X 10.8 (AU, VST) or Windows 10 (VST) 64-bit plug-ins

The post Two free plug-ins and a music label take you into ambient worlds appeared first on CDM Create Digital Music.

Inside the esoteric moon music of Doc Sleep, underground connector

Delivered... Peter Kirn | Labels,Scene | Mon 4 Mar 2019 6:57 pm

Leftfield grooves, cycles inspired by the cinematic qualities of lunar and natural world – welcome to Doc Sleep’s “Your Ruling Planet.” I talked to the Room 4 Resistance resident and Jacktone Records co-owner about her work.

Doc Sleep is a San Francisco-to-Berlin transplant, and apart from her prolific production career and packed DJ schedule, she’s someone who makes connections and creates space for others in an underground scene so often overlooked for solitary solo artists. So that has meant broadcasting on the legendary Intergalactic FM, collaborating and remixing across labels from Twirl to Discwoman, and more recently being a resident and curator of Room 4 Resistance, the activist, queer collective.

And her music productions mirror the thoughtful, eclectic materials of her label Jacktone. “Your Ruling Planet” is comfortably odd, relaxing into organic rhythms that dance hypnotically through the stereo field, gentle ambiences and field loops feathering into one another. She tells us a bit about how this came about and where she’s headed.

Take a listen:

Cover image: album art by Sonja of Lisbon’s LABAREDA label.

Lunar eclipses and whatnot – can you share a bit with us the cosmic narrative for you in this music? What brought it on; how does that translate to the music?

I have a lot of memories from childhood connected to seasons and nature. I’m from a rural area, so it’s all tied up with a bit of colloquial wisdom, farmers almanac kind of context. Something like the harvest moon or spring equinox – these were all part of the vernacular, but in a practical, matter-of-fact way. These memories were on my mind when I was working on the music in January because of the eclipses (partial solar, total lunar). As I was recalling memories and stories, the natural and ‘otherworldly’ elements were always so strong in beautiful cinematic ways – the look of the sky and moon, colors at dusk, constellations, northern lights glimpsed through the trees, and so on. I started to record and structure the release as a narration and soundtrack for these fragments and how to bring them into the present. Sonja (the amazing artist who designed the cover), sent along artwork and referred to it as ‘celestial’ – and it was solidified.

What’s your toolset like for this album? There’s a really organic sound to these elements; how are you working?

I was feeling stuck last year with the DAW tools I had, and a pal made some specific suggestions to spice it up in Ableton – Reaktor, Max for Live, etc. You know, things most people have been using for ages, ha! Since moving to Berlin, I’ve been producing ‘in the box’, so between using a Push, experimenting with Reaktor and just generally getting more comfortable in Ableton – I’m finally able to be more spontaneous. Lots of accidents are happening all that good stuff. Being able to record and manipulate audio out of Reaktor added an imperfect, unwieldy element I was missing from my setup and I use it heavily these days. I also mangle samples and sample packs, use field recordings, analog synth plug-ins, piano and guitar plug-ins – lots of warmer-sounding instruments. I add plenty of effects (reverb, space echo, tape distortion) to give the sounds a bit of depth and character. I am still learning and experimenting with every session, so we’ll see where I end up with the next EPs later this year.

Doc Sleep. Photo: Lydia Daniller.

I’m particularly interested in the element of time – there’s a sense of cycle, but without being too fixed to a grid. How many layers are we hearing at once / how much is real time versus worked out after the fact? There’s a particularly hypnotic sense for me on the last cut (“Emerado Falls”).

I love that you mentioned a sense of cycle. This all fits nicely with the themes and I’m glad this came out in the music.

In general, I like to layer melodic elements and play with the phasing/fading in and out with the different layers… actually, maybe cramming is a better word. I will manipulate a sample or record audio out of Reaktor over percussion and then record several versions of what I want, but all slightly different with effects and then layer it and work on the arrangement from there.

In these tracks, for some of the more ‘ethereal’ parts, I was layering vocals and having them interplay with synths that mirrored the melody line. There are probably four or five mid- to higher-register melodic elements at one time in “Emerado Falls.” I wanted them to be indistinguishable at times, or sometimes the different sounds coming in and out of focus – my friend at Grippers’ Tips referred to it as ‘smudged ambience’, which I really like. As far as the pianos that come in and sort of collide at the end, this was difficult to get them timed in a way that didn’t sound ‘off’ or distracting. I’m not seeking perfection with the music, but I also don’t want it be so off-grid that it pulls the listener out of the moment.

I hear various field recordings. Does that figure into the story of this music for you?

I was very interested in bringing these elements into the music, yes. In the mid 2000s I made music with a friend who had gone to school for sound art, so this is when I started to learn what was possible mixing field recordings into music. Before that, I didn’t really understand how producers were doing it – magic, I guess. For this release, I was very particular about the sounds I used as I was trying to recreate and reconstruct situations / memories that represent something meaningful for me personally. For the listener, I wanted to share these personal experiences, draw them in and see if it would also resonate.

That said, maybe saying “ambient” is really the wrong term – there is some real groove here, too, on “Nim” or even “Your Ruling Planet.” Usually when we start talking DJs and production, we slip into the realm of tools and whatnot – are you feeding your life into a DJ into this, even when it is less obvious dancefloor material?

My first two releases, I wanted to make dancefloor material and hoped some pals would play it out in sets. This time around, since it was at home on Jacktone and I hadn’t released in awhile, I was more focused on realizing and executing ideas. There are dance tempos present, but I didn’t write with the dancefloor in mind, which feels like real progress for me. I’m glad a groove comes through, though – I would be sad if it didn’t!

You’re now in my impression really active DJing. What has the move to Berlin, and to Room 4 Resistance meant for that side of your career – and how do you fit in time for the label and production?

Being part of R4R, I’m surrounded by fantastic, experimental, bold artists that I’m lucky to play with and learn from. Being part of the collective has pushed me to try new things in sets and I’m a better and more confident DJ because of it. Because we now have the experimental/ambient room at Trauma Bar, the events will push even further out of the box of what a club night can look like in 2019. It’s an exciting time and I’m fortunate to be part of it.

As far as time management and prioritizing projects, it’s definitely difficult. I have about 3 hours before work (if I don’t hit snooze) and 3 hours after work to make headway on the various things I’m involved with and working on, so I have to be focused, disciplined and…very boring these days.

For those new to your label, any tips as far as where to begin?

If you poke around the Jacktone Bandcamp store, you’ll find everything from kosmische and dark ambient to pummeling acid and dub techno, psychedelic house to rhythmic noise, concept albums, soundtracks, IDM, lo-fi, breaks, electro… and so on. We’ve collaborated with such a beautiful variety of folks producing in different genres the past 5 years, it’s difficult to single out any one release. I will say, our next release, from a prolific artist named Le Scrambled Debutante from Tennessee, is offering what is probably our most experimental release thus far. I think he best described it: sonic Dada. After that, we’re back in the Bay for another psychedelic house release, and then our first vinyl collaboration of the year with Beacon Sound in Portland (artist TBA). 🙂

https://jacktonerecords.bandcamp.com/

Oh, lastly, I love this artwork – can you tell us about Sonja and how the visual came about?

I’m so glad you like it! Sonja is a fabulously-talented designer, DJ, and label owner from Portugal. I’ve loved her aesthetic for so long and the music she puts out on Labareda is bold and imaginative and I thought she would be a great person to collaborate with for an image. Because it’s a digital-only release, we wanted it to be eye-catching and I think it works beautifully and captures the narrative perfectly. We liked it so much we also made it into a t-shirt.

Thanks! Yes, we’ll be watching for more from you and your label…

https://www.facebook.com/djdocsleep

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The words most used to describe releases at Hard Wax

Delivered... Peter Kirn | Labels,Scene | Mon 21 Jan 2019 9:37 pm

“Now that’s one fine and classy, atmospheric, big room tool, son.” Here’s the data when you crawl Berlin electronic music shop Hard Wax for descriptive keywords.

Friend of the site (and one-time CDM Web developer) musician-and-hacker Olle Holmberg has crawled Hard Wax’s website. That’ll be the legendary record purveyor opened by Mark Ernestus back in 1989 in Kreuzberg, Berlin, and still a leading destination for vinyl lovers today.

hardwax.com has accordingly accumulated a lot of words about music on their Internet portal, since each time a release like this Drexciya side project comes out, you get a whole bunch of language, too.

Olle collected the most important words, and he’s shared his data set.

I wrote some Processing code to visualize all of this as a word cloud, and here’s what you get (details on how to do this yourself below):

Since the data is available as a CSV, you could probably refine it more. For instance, one flaw is that singular and plural versions of words aren’t combined, so the rankings are slightly off. “Banger” and “bangers” he’s manually combined so that one gets a solid ranking.

The top 25, with number of appearances in a description:

1. tool (1848)
2. atmospheric (974)
3. fine (941)
4. big room (928)
5. classy (904)
6. deep (872)
7. effective (858)
8. killer (858)
9. heavy (851)
10. leftfield (798)
11. minimalist (744)
12. original (734)
13. excellent (720)
14. crafty (647)
15. trips (598)
16. recommended (594)
17. raw (590)
18. spaced (585)
19. rooted (574)
20. hard (567)
21. dark (526)
22. banger/bangers (520)
23. excursions (516)
24. tripping (508)
25. leaning (506)

“It’s atmospheric, yet also a banging big room tool.”

Next challenges: build a random keyword generator, train some machine learning on this, or … try to make music that fits the most popular words?

Oh, and if you’re interested in the code, I’ve got that, too. I worked with free and open source, multiplatform artist-friendly coding tool Processing. (Other Web-based tools exist, too, but then you miss out on the fun and flexibility of coding things yourself.)

Ah, word clouds – remember when we thought those were the bee’s knees? (To misquote Douglas Adams, it harkens to a headier, more innocent time when we were “so amazingly primitive that we still thought word clouds were a pretty neat data visualization.”

Dan Bernier’s free library gives you some tools for free:
http://wordcram.org/

Here’s a simple code template to get you started, loosely inspired by Dan Shiffman and Dan Bernier examples:


import wordcram.*;
import wordcram.text.*;

Table table;
Word[] wordArray;
WordCram wordcram;

void setup () {
size(1280, 1020);
background(255);
table = loadTable("data.csv", "header");
int numRows = table.getRowCount();
wordArray = new Word[numRows];
int rowCount = 0;
for (TableRow row : table.rows()) {
float weight = row.getFloat("count");
String mWord = row.getString("phrase");
wordArray[rowCount] = new Word(mWord, weight);
rowCount++;
}
wordcram = new WordCram(this)
.fromWords(wordArray);
}

void draw() {
wordcram.drawAll();
}

It’s quite slow to run by comparison, but here’s the code that makes the record-shaped visualization:

// image source: https://commons.wikimedia.org/wiki/File:Disque_Vinyl.svg
// author: Muel, CC-BY-SA
// https://creativecommons.org/licenses/by-sa/3.0/deed.en

import wordcram.*;
import wordcram.text.*;
import java.awt.*;

Table table;
Word[] wordArray;
WordCram wordcram;

PFont georgia;

void setup () {
size(1000, 1000);
background(255);
PImage image = loadImage("vinylicon.png");
image.resize(width, height);

Shape imageShape = new ImageShaper().shape(image, #000000);
ShapeBasedPlacer placer = new ShapeBasedPlacer(imageShape);

table = loadTable("data.csv", "header");
georgia = createFont("Georgia", 1);
int numRows = table.getRowCount();
wordArray = new Word[numRows];
int rowCount = 0;
for (TableRow row : table.rows()) {
float weight = row.getFloat("count");
String mWord = row.getString("phrase");
wordArray[rowCount] = new Word(mWord, weight);
rowCount++;
}
wordcram = new WordCram(this)
.fromWords(wordArray)
.withFont(georgia)
.withPlacer(placer)
.withNudger(placer)
.angledAt(0)
.sizedByWeight(10, 90)
;
}

void draw() {
wordcram.drawAll();
save("wordcloud.png");
println("Finished.");
stop();
}

With both code examples, you’ll need to slightly modify the csv file. Open the file in a text editor and add this line to the top:

sep=;

And remember to add the data file, and the image file (if you use the shape variation), to your Processing sketch (Sketch > Add File).

If you want to check out Berlin’s record shops and you happen to make it to town, here’s a good guide. It’s impressively only a little bit dated in terms of locations – Berlin is a weird haven where record shops mostly survive. Hard Wax is a must. Space Hall has become a huge music venue. And digger heaven The Record Loft has recently reopened next to the Sonnenalle S-Bahn stop.

The definitive guide to Berlin’s best record shops [The Vinyl Factory]

If Olle’s name is familiar, it’s because he also crawled Berghain’s site, though we were later informed both by resident DJs and the booking office that the data crawled there wasn’t really representative. (Still, it was a fun project – and we did wind up learning more about Berghain booking data in the end. Science!)

Berghain, by the numbers: data on the relentless Berlin techno club

If you have any time left after tinkering with Processing, of course, go buy up some records!

https://hardwax.com/

The post The words most used to describe releases at Hard Wax appeared first on CDM Create Digital Music.

A year overflowing with electronic sound: 2018 music we loved

Delivered... David Abravanel | Artists,Labels,Scene | Tue 1 Jan 2019 1:11 am

Happy weird rockin’ New Year’s Eve. In a continuing tradition, CDM invites back resident music curator David Abravanel to single out some beloved music of 2018. We live in fortunate times; that job is deliciously hard. But it’s a chance to discover and rediscover some great sounds.

Without exaggeration, I cannot remember the last time I’ve had such difficulty paring down a year-end list. It’s not that I necessarily heard more music in 2018 – rather, it really did seem like everything was just that much better musically. Most likely it’s the product of turbulent times – and certainly, many of these albums are neither fun nor relaxing.

Getting this down to 35 has taken me far longer than any task should take any person. I’ve removed albums which, on any random day, I might decide is the best thing I’ve heard in a decade. But here’s what’s hit me the hardest in 2018 – all lists alphabetical:

Albums

Actress x London Contemporary Orchestra – LAGEOS (Ninja Tune)

Aisha Devi – DNA Feelings (Houndstooth) Pictured, top

Aleksi Perälä – Moonshine (AP Musik)

Alva Noto – Uniqav (Noton)

Autechre – NTS Sessions 1 – 4 (Warp)

Beans – Someday This Will All Be Ash (Hello L.A.)

Brian Jonestown Massacre – Something Else (‘a’)

Concubine – 2018 (self-released)

Derek Carr – Contact (Subwax Excursions)

DJ Healer – Nothing 2 Lose (All Possible Worlds)

France Jobin – Intrication (No.)

GAS – Rausch (Kompakt)

GusGus – Lies are More Flexible (Oroom)

Inigo Kennedy – Strata (Token)

Jason Forrest – Fear City (Cock Rock Disco)

Low – Double Negative (Sub-Pop)

Meat Beat Manifesto – Impossible Star (MBM)

Mika Vainio + Ryoji Ikeda + Alva Noto – Live 2002 (Noton)

Morphology – Traveller (Firescope)

Noah Pred – Homeworld (Modular)

Positive Centre – Forever Optimum (Horo)

Pulsewidthmod – Serpentine Servitude (Detroit Underground)

Robert Lippok – Applied Autonomy (Raster Media)

Shinichi Atobe – Heat (DDS)

Sinjin Hawke & Zora Jones – Vicious Circles (Planet Mu)

Skee Mask – Compro (Ilian Tape)

Stefan Goldmann – An Ardent Heart (Macro)

Steven Julien – Bloodline (Apron / LuckyMe)

The Black Dog – Black Daisy Wheel (Dust Science)

The Breeders – All Nerve (4AD)

The Field – Infinite Moment (Kompakt)

Thomas Fehlmann – Los Lagos (Kompakt)

Tom Mudd – Gutter Synthesis (Entr’acte)

V/A – Air Texture Vol. VI (Air Texture)

Wanderwelle – Gathering of the Ancient Spirits (Silent Season)

EPs / Singles

Alis – Begin (Complete) (self-released)

Aphex Twin– Collapse (Warp)

Barker – Debiasing (Ostgut Ton)

Fanu– Black Label EP (Metalheadz)

LA-4A – Slackline (Central Processing Unit)

Róisín Murphy – “Jacuzzi Rollercoaster” / “Can’t Hang On” (Vinyl Factory)

Rothko String Quarter & Kaan Bulak – “Hain I” / “Hain II” (Feral Note)

Steven Rutter & John Shima– Step Into the Light (Firescope)

umru – Search Result (PC Music)

Underworld & Iggy Pop– Teatime Dub Encounters (Caroline)

Reissues & Retrospectives

B12 – Time Tourist (Warp)

Higher Intelligence Agency & Biosphere – Polar Sequences (Biophon)

Pixies – Come On Pilgrim…It’s Surfer Rosa (4AD)

Max Richter – The Blue Notebooks (Deutsche Grammophon)

Susumu Yokota – Acid Mt. Fuji (Midgar)

This Heat – Repeat / Metal (Modern Classics)

Tin Man – Acid Acid Acid (Acid Test)

The 7th Plain – Chronicles (A-Ton)

VA – Scopex 98/00 (Tresor)

V/A – 3AM Spares (Efficient Space)

Zeitgeist

There were a number of common trends and feelings with some of the best music of 2018. Some stray observations:

  • Outrage fatigue was on full display with Low’s magnificent Double Negative and Beans’ personal Someday This Will All Be Ash.
  • Exciting new explorations of Electro came courtesy of LA-4A and Morphology, coupled with reminders of classics from the Scopex label.
  • Taken together, Róisín Murphy’s four incredible single releases (in collaboration with left-field house/ambient stalwart Maurice Fulton) could make an AOTY candidate. Eight tracks of solid gold that should be on every dance floor.
  • Fantastic year for reissues of classic ambient techno – B12, The 7th Plain, Higher Intelligence Agency, Biosphere, and Susumu Yokota all still sound vital.
  • The 3AM Spares compilation was a fun discovery – picking gems from the after-hours house and breakbeat sounds of early-mid 90s Australia.
  • At the risk of understatement, it’s difficult to keep up with Aleksi Perälä’s overwhelming output. That said, Moonshine was a real winner, combining his spiritual Colundi Sequence with classic jungle rhythms.
  • Speaking of spiritual, it took a while to come around to it past the hype, but that DJ Healer album was something special. A real mood and atmosphere from start to finish – listen with your eyes closed.
  • Some real sleeper gems from Inigo Kennedy, GusGus, The Field, and Derek Carr – RIYL techno with feels.

So dig it. And here’s to some hope in 2019! Love to you and yours.

Listen now

Want more of a sampling? David has put together a Spotify list, too:

https://open.spotify.com/playlist/4KmdnTetEPFrt9fiqqcDbG

Of course, buy stuff you love from the labels.

Bonus: editor’s picks

As an addendum, I will re-gift the lineup I’ve sent to BTS / Behind the Stage, the Poland-based collective. It’s worth following their whole series, in fact:

https://www.facebook.com/btscollective/

We actually had to cut that list a little, so here’s my lucky number (13) worth / directors’ cut:

ИНФХ – Fences of Metal (ГОСТ ЗВУК Records)
BC: https://bit.ly/2QeqZ9n

Richard Devine – Opaque Ke (Timesig)
BC: https://bit.ly/2SxhGTW

Wiktor MilczarekUntitled (Brutaż)
BC: https://bit.ly/2CHiZdj

Robert LippokApplied Autonomy (Raster)
BC: https://bit.ly/2Tk5shs

Barker – Debiasing (Ostgut Ton)
BC: https://bit.ly/2LD8bzT

KATE NV – для FOR (Rvng International)
BC: https://bit.ly/2Rph4Ch

The AllegoristHybrid Dimension I (DETROIT UNDERGROUND)
BC: https://bit.ly/2BQmOLF

Christina VantzouNo. 4 (Kranky)
BC: https://bit.ly/2AlWOrk

Gabber Modus Operandi – Puxxximaxxx (YES NO WAVE MUSIC)
BC: https://bit.ly/2CGEXgr

Debashis Sinha MusicThe White Dog (Establishment)
BC: https://bit.ly/2LKiz92

Senyawa – Sujud [Sublime Frequencies]
Bandcamp

Lara Sarkissian – Disruption [Club Chai]
Bandcamp
Nadia StruiwighWHRRu [Denovali Records]
Bandcamp

The post A year overflowing with electronic sound: 2018 music we loved appeared first on CDM Create Digital Music.

Mix up a year in music, with a guide to weird, under-the-radar Poland

Delivered... Peter Kirn | Artists,Labels,Scene | Mon 31 Dec 2018 9:06 pm

Oramics, the DIY collective run by and focusing on women and queer artists, have put together an all-hands mix and a guide to everything wild and wonderful from Poland and beyond. You can’t pick a better way to end 2018 than with strange, new, and different sounds.

We met Oramics in October:

In Poland, a collective for women and queer artists becomes an agency

In many ways, it’s a strange moment for electronic music across Europe and the global scene. True, it’s now in fashion to look beyond centers like London, to make lineups with more women or more queer artists. But while that’s a welcome development – not just politically, but musically – that still doesn’t mean it’s easy for anyone to break through. The very fact that some artists have become commercial commodities can mean an even steeper road for artists who don’t fit in, whatever their identity. Media outlets have ceased print publication. Blogs have shuttered, and music journalists struggle to make ends meet – while having to chase links and followers. And too often, the demands of commercial DJ booking even in this more left field-friendly age are at odds with what makes unique producers and live performances tick.

It’s tough. It’s frustrating. It’s okay to need some friends – even just someone to listen to your music.

I like what Oramics are doing precisely because they’re giving that support to one another outside of the usual system of PR and booking – totally DIY. And even if you’re not a Polish queer woman (that’ll be a small percentage of our readership in that exact intersection), I think you’ll dig these sounds and discover some new things – and perhaps a model for taking your own weird stuff that fits in, and finding some other people to share with.

Oramics this time team up with another Polish DIY effort, Behind the Stage and their superb podcast series. They turn over the helm of the BTS series to Oramics for a team effort – roughly 20 minutes per person – and give you a total 105 minutes of music:

Running order: Monster, ISNT, FOQL, Mala Herba, dogheadsurigeri.

They’ve also selected their own favorite under-the-radar resources for unique Polish music for CDM. It’s your guide to the Polish underground:

Monster Poly chain sanatory of sound festival photo – Paulina Adaszek.

Monster

https://musicofstoriestold.bandcamp.com/ – great lively releases by Seltron 400, some of my favorite Polish producers
http://www.kholetrax.com/ – people behind Olivia’s fantastic debut EP
https://flauta.bandcamp.com/ – a club night focused on helping refugees, they released a really impressive VA compilation
https://soundcloud.com/pilpl – a vinyl label from Poznan, focused mostly on underground house

FOQL & Copy Corpo @ Cafe Oto. FOQL is the alias of Polish artist Justyna Banaszczyk.

dogheadsurigeri

Zaumne, nadziej, julek ploski — young wolves of polish electronic scene 😉

https://czaszka.bandcamp.com/album/emo-dub

https://enjoylife.bandcamp.com/album/nie-lubi-my-le-o-niemi-ych-sprawach-gdy-nie-jestem-w-staniehttps://julekploski.bandcamp.com/

Mala Herba

https://www.facebook.com/3szostki/ – tape label from Poland investing a lot of love and effort into supporting pure weirdness

Girls to the Front
https://www.facebook.com/allgirlstothefront/ Warsaw-based pro femme and queer initiative organizing concerts and putting up beautiful zines

FOQL

Debut album by our very own ISNT:
https://vanitypilltapes.bandcamp.com/album/world-is-full-of-electric-chairs

I would like to recommend Pointless Geometry label and especially this one exceptional VA tape.

It is a very special charity compilation and you will find everything what is interesting in polish underground right now inside. Whole label is one of the best in Poland!

https://pointless-geometry.bandcamp.com/album/va-ardea-cinerea-benefit-compilation-for-adam

I am also exploring eastern and central european underground in my Noods Radio residency show

http://noodsradio.com/residents/interferencje-w-foql

ISNT on tape!

ISNT photo by Magda Szafrańska (Instytut)

ISNT

We Will Fail – amazing polish producer and very successful artists running her own label!

https://wewillfail.bandcamp.com/album/we-will-fail-dancing

DYM – label and collective from smaller Polish town (my home town!) Gorzów Wielkopolski. We need more initiatives likes this one. They also do their own festival two times a year. It’s like 2 hours from Berlin – you should visit!

https://dymrecords.bandcamp.com/

The post Mix up a year in music, with a guide to weird, under-the-radar Poland appeared first on CDM Create Digital Music.

Watch futuristic techno made by robots – then learn how it was made

Delivered... Peter Kirn | Artists,Labels,Scene | Wed 12 Sep 2018 5:48 pm

Roboticist, composer, and futurist Moritz Simon Geist has made an entire album using robotic machines. It’s stunning to behold – and he tells you all about how it developed. Let’s watch:

This is more than a gimmick: there’s a real difference in approach and process here. Moritz’s work is truly mechanical-acoustical and electro-acoustic, using mechanical, kinetic machines to produce sounds.

And Moritz has been working on this background for some time, including making an entire oversized TR-808 drum machine that replicates sounds not with analog circuitry or digital code, but by actually hitting percussion. (The claps even required a cluster of stuff to clap together.)

An extended making-of video walks through the behind-the-scenes process of how this came about and evolved.

It’s as much an exercise in kinetic sculpture as music, but then the album organizes those raw materials in an eminently listenable, musical manner. It’s quirky grooves, true to its mechanical-robotic nature – that is, even if you didn’t know what this was, you might quickly imagine dancing bots. The materiality comes through, in subtly off rhythms and precisely-placed organic sounds.

Moritz’ ongoing collaborators Mouse on Mars co-produced both an EP (“The Material Turn”, out October 12) and LP (“Robotic Electronic Music”, on November 16). And Moritz extends the musical role here, by being both inventor/builder/maker and musician – not to mention label head.

It’s great to see Moritz starting a new label devoted to this medium – Sonic Robots Records – but also getting the help not only of Mouse on Mars but legendary German label Kompakt to handle global distribution.

You can preorder the EP already, in both digital and vinyl forms:

… with the LP to follow soon.

Here’s our look at how Moritz is working with Mouse on Mars:

Here’s how Mouse on Mars are using robots to expand their band

And here’s how we first got to meet Moritz, through his robotic TR-808:

A Robotic, Physical 808 Machine Advances Weird Science of Music, Tech Alike

Want to try making your own robotic music? Dadamachines is an easy way to start, and you can explore sound and musical arrangement without having to know about the building side right away:

dadamachines is an open toolkit for making robotic musical instruments

Don’t miss Moritz’ talk, too, for our MusicMakers Hacklab this year, discussing speculative futures for machine learning:

https://moritzsimongeist.bandcamp.com/album/the-material-turn

The post Watch futuristic techno made by robots – then learn how it was made appeared first on CDM Create Digital Music.

Cues: Detroit innovator Alan Oldham talks to us about techno, creation

Delivered... Peter Kirn | Artists,Labels,Scene | Fri 24 Aug 2018 5:14 pm

It’s easy to forget if we get too deep into hero worship and seriousness, but real creativity is fun and boundless. So nothing energizes like talking to people like Alan Oldham, the multidisciplinary Detroit techno artist.

Oldham, sometimes DJing as DJ T-1000, had a multifaceted series of roles in techno. So he’s served in Underground Resistance – including as “Minister of Information.” He did artwork for Derrik May’s legendary Transmat label. He’s a comic artist as well as a producer, savvy enough to interact with the art market and not only the music industry. A lot of us in the USA got our first introduction to techno and the full story behind it through his story “Fast Forward” on National Public Radio. But then, in this age of overabundant production, we need those kind of voices now more than ever – people who can narrate what’s happening in music, DJs in the club sense and DJs in the radio sense.

Meanwhile, as CDM finds its evolved voice this year, I got to invite Alan (now a Berlin transplant) to talk about his process, to jam a little, and to chat about music, aesthetics, and futurism.

Alan is a big Native Instruments Maschine fan, and it’s nice to see how the MPC and other hardware workflows have made the transition to the computer age. I think immediacy is important to tapping into that creativity.

Have a look:

Off camera, it was also great that Alan got to hang out with our other guests, HRTL and Oliver Torr and their live project Windowlickerz. Growing up in Detroit, meet growing up in Czech Republic.

Alan Oldham in the studio.

Making beats (MASCHINE MIKRO), making comics (paper and pen).

Since January, Alan has been busy, in the studio and in the club (as well as continuing his visual art work). Message Discipline is the EP dropping in October on Pure Sonik Records.. The timbres, the tech are decidedly future-looking, not nostalgic. But as a lot of techno gets cold and clinical, overthought, or overly … well, dreary (not that there’s anything necessarily wrong with that) — this is none of those things. It’s “up,” as Alan says. Maybe it’s hard to find words for that funky, groovy feeling because it’s better to describe it me moving my body around than it is just wiggling my fingers over the computer keyboard.

You know you’re in for something special when you’re dancing around to the damned excerpts on SoundCloud. Tell me I’m wrong:

Even that last cut swings, like a nice makeout slow dance. And the title track sounds ready to blast into orbit to some, uh, really sexy space lounge, I would imagine.

Message Discipline is all bangers, but for a more tripped-out experience, DetroitRocketScience is the ticket:

Alan and Ellen Allien can often be caught side by side, so expect more on Ellen’s BPitch Control, like this excellent remix:

He’s also got a great remix of Sky Deep’s “In This,” but looks like I can’t share that – take my word for it.

Now who wants to don an Andy Warhol wig and dance around a bit? Yeah? Have a great weekend, y’all.

Related – in summer 2011, Wax Poetics provided us with this article they ran exploring early Detroit techno history, and even talked to Alan. of course, now you meet the Detroit artists in Berlin.

Future Shock: The Emergence of Detroit Techno, Told by Wax Poetics

Photos courtesy Native Instruments.

The post Cues: Detroit innovator Alan Oldham talks to us about techno, creation appeared first on CDM Create Digital Music.

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