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Indian E-music – The right mix of Indian Vibes… » 2012 » October » 19


The Aston Shuffle and Tommy Trash shine through to #1

Delivered... Sean Lewis | Scene | Fri 19 Oct 2012 10:00 pm
Congratulations to The Aston Shuffle as Tommy Trash's version of the their single "Sunrise (Won't Get Lost)" makes its way to the #1 position in Beatport's Top 100.

Traktor’s Cookery school at ADE offers chats and recipes from Shiftee, David Morales, and Hector Romero

Delivered... Mike Chapman | Scene | Fri 19 Oct 2012 8:00 pm
Yesterday was a blast at the Traktor Cookery school, and today we bring you day two of the proceedings, in which we had guests DJ Shiftee, David Morales, and Hector Romero chat with us about food and music, all while making a few snacks in between.

Traktor’s Cookery school at ADE offers chats and recipes from Shiftee, David Morales, and Hector Romero

Delivered... Mike Chapman | Scene | Fri 19 Oct 2012 8:00 pm
Yesterday was a blast at the Traktor Cookery school, and today we bring you day two of the proceedings, in which we had guests DJ Shiftee, David Morales, and Hector Romero chat with us about food and music, all while making a few snacks in between.

A special Monster Mashbox with 17 new tracks from Dekontrol, Rainer Weichold, Argy, Sascha Barth, Alkemia + tons more!

Delivered... Ken Taylor | Scene | Fri 19 Oct 2012 6:00 pm
Guys, we're about to get generously spooky with you today with a very special Monster Mashbox, featuring 17 new pre-cut music packs for Mashbox, the app that lets you mash-up your favorite dance music and pop songs on your iPad. But wait, this is just part one of the bunch. Grab these tracks for Mashbox today and come back next Friday for another huge whack of hits in the making: - Dekontrol - Now [Incorrect Music] - F.U.N.O. - Japanese Boy [Rhythm Lab] - Steve Ward - Shroud Of White [Gem Records] - Ramiro Lopez - Hell Yeah [Suara] - David Amo & Julio Navas - Thank U [Fresco Records] - Rainer Weichold & Nick Olivetti - Vacation Tape [Kling Klong] - Argy - Don't Need To Practice [These Days] - Coyu - Belize [Suara] - Patrick Kunkel, 212Fahrenheit - Gonna Rock You [Kling Klong] - Steve Nash - Ariconte [Groove On] - Patrick Kunkel, 212Fahrenheit - Things Behind The Sun [Kling Klong] - Tommy Vee, Mauro Ferrucci,Luca Guerrieri - Sharing (Josh Feedblack Remix) [Airplane Records] - Sascha Barth - Prestigio feat. Sanderson Dear [Insist Music] - Sascha Barth - The Beach [Insist Music] - Arjun Vagale - Glo [Material] - German Brigante - Maduro [Material] - Alkemia - In New York (Alkemia Tech House Experience) [Rhythm Lab]

The Bee and The Stamen: Complete Live Stream, King Britt Interview, As Nature Meets Electronic Music

Delivered... Peter Kirn | Artists,Scene | Fri 19 Oct 2012 5:43 pm

King Britt, performing in the garden. Photo: Inna Spivakova.

For just a moment, take your mind somewhere a bit different.

First, imagine the computer as part of nature, not something separate from nature. And then, put your head inside the mind of a bee. (You might not want to operate heavy machinery, just in case you start to imagine you’re seeing things through a compound eye.)

That’s the journey we’re on with King Britt, the veteran producer from Philadelphia. He’s remixed everyone from Miles Davis to Tori Amos, but now, he remixes the world of the bee. And given how small we ultimately all are, perhaps that’s a worthy mission for a musician.

I’m pleased that we get to offer the exclusive, complete stream of the album. This seems to me one to buy in lossless quality, to enjoy in its entirety – even if many people no longer believe in such things. King also offers some insights into technology and nature that go well beyond the scope of this one record.

Peter: I think when most people think about synthesizers and computers, the last thing they imagine is something organic or natural. What does it mean for you to use these “artificial” technologies as a mirror to hold up to nature?

King: It’s funny, because a computer is made up of silicon, one of the most abundant elements on Earth, and copper, which is found in abundance in the Earth’s crust, is used for circuit boards. These are natural elements, which we don’t think of as natural because they are encased in plastic, but their ‘essence’ is organic in the beginning. So in a sense, once you know this fact, you dont think of the hardware as artificial. The funny thing is with the mirror idea, you’re essentially showing nature how it looks in a new outfit (plastic).

So, somehow, you’ve entered the mind of the bee. Since our lives are not terribly bee-like, how did you go about doing that? Did the foreignness of this help inspire you musically?

Lately, I have been listening to more sound design than music. So I got some cool plug-ins that were spectral processing things and really took any sound into a whole other sonic territory than I was used to. So, when I did Allogamy Sonics, it really sounded like a bees-in-a-hive situation. So then I started to think, what would a bee hear on his journey? “In Search of Stamen” is a perfect example. Quick movements from one idea to the other (using the monome) as if the bee was flying through the city….

The foreignness helped, for sure, as well as other ‘natural’ elements like cannibus.

Tell us a little bit about your musical journey. You’ve been a prolific producer for a long time. It’s funny, in a way, it sometimes seems like it’s the people I know who have had longer careers who are
the most adventurous, maybe because they don’t feel the need to fit some popular zeitgeist or prove themselves. How did you wind up at this point, and for those of you who don’t know you, how would you encapsulate some of the points in your career they should know?

I never think about what’s popular. I love popular music, but I just do what I feel. I love all genres and want to explore making music using this palette of knowledge. This knowledge, along with my DJ aesthetic, goes into my compositional process, which brings different results. Much of what I have done in the past like my Sister Gertrude Morgan Tribute or Sylk 130 stuff, was more digestive than, say, The Bee and the Stamen, but underneath, there was always sonic experimentation. It’s just that now, I’m stripping away more of the musical element down to its essence and putting more emphasis on sonic exploration, which is so much fun.

Not concerned so much with selling records or charting. But it always seems to work out in the end. I do it for the art and journey.

King Britt’s live rig, complete with monome and Ableton Live. Photo: Inna Spivakova, courtesy Data Garden.

What matters most to you musically these days? Listening to the record, it seems you’re really pushing sonic ideas as far as you can. When do you know you’ve pushed far enough?

Ha… you never know when you have pushed far enough, but after a while, you have to just stop and let it be. Musically, I have been studying more Musique Concrete stuff and found sounds, which I have been incorporating into my music since my Sylk130 days, and When The Funk Hits The Fan; [it] was a emotional picture. All the little skits were sound-designed from found sounds and real dialog.

Actually, I did a piece for TEDx last year with Saturn Never Sleeps, where the theme was the City. So I went all over Philadelphia to grab found sound rhythms and brought them into ableton and actually mapped out a days journey with rhythms. Then, Rucyl [Mills], the other half of SNS, sang over them… which gave it a wild sound.

I’m actually re-creating this and scoring it as we speak.

I know a bit about your tools and use of the monome, but specifically, what are we hearing on this record? It seems there’s a broad sound palette. What are the tools or techniques you’re employing?

So, initially I was experimenting with Michael Norris Spectral Plug-ins, which I had no idea how to use. Sometimes, it’s fun just to run things into these and find what works. So, the Allogamy Sonics is basically a rhythm from my Nintendo DS, and found sounds played on the monome, each running through a plug-in chain in Ableton. So I could group things then internally wired one into the other to get weird sh*t.

As far as textures, I have been creating my own loops using my synths running into things then sampling live into [monome patch] MLR. This is the case with most of the other songs, except Landing Grains, which is all Rhodes running through a series of Moogerfoogers and an Roland RE30 [Space Echo] ……and cannibus!

There are also some different sonic layers here; can you characterize some of these? Some are more fanciful, harmonic lines, others darker, glitchier shadows of timbres – do these have a narrative significance? Compositional significance?

Ha… well… Somethings I worked with various plug-ins, like [Native Instruments] Reaktor, which I create sounds and then run them into other things to then be sampled into MLR. So starting with one sound and then as its running in MLR, creating new sounds quickly on the fly and repeating until I have 5 for the song. This was more for the glitchy, techy stuff.

For the more harmonic [material], I pulled out a few synths and brought them into MLR, just to keep a sense of music. Then I would make samples of combinations, then resample myself. Ableton routing is just magnificent. Makes it all beautiful.

What are you working on otherwise – and are you somehow working this material into live performance? (That is, what did you perform this week?)

I performed some of this album live the other night at Switched On in Philly, which really went well. I was super nervous, because the version of MLR I was using is an altered Max for Live plug-in that sometimes isn’t stable, but it rocked! I was so happy in the end.

I wanted to sonically push more in the live show but considering the sound system and crowd, I may have blown some speakers and ears… I need to perfect that first.

The most fun was creating the architecture to actually do the performance in a smooth way without an [Akai] APC [Ableton controller]. So keymapping, knowing the MLR inside out, and creating multi-instrument racks is the key. Wow, that was the big discovery of bringing in like 20 VSTs into one rack and then mapping one knob to switch though them. Ableton wins again.

Any other impressions of interesting discoveries at the intersection of nature and sound at Switched on Garden?

Oh my God, Switched On is just so great. First, to be in a huge garden like that is amazing. Then to add something totally out-of-context like a synth is somehow very exciting, because it reminds you of science fiction movies, but it’s real. Then [to add] natural things, like the drum machine sequencer, where six people create a series of sequences that trigger little hammers to make beats on turtle shells…. genius. Everyone had fun!

Or mic’d cones that participants could alter the direction of the mics to then alter the sounds in the cones which changed each other…. c’mon …Alex curated the hell out of this year!

And most importantly, the kids loved it!

Video of the Live Show, Photos from Philly

King also shares with us some live video of the performance version of his work:

KING BRITT feat PIA ERCOLE live at SWITCHED ON GARDEN from King Britt on Vimeo.

This was a snippet from the live performance for my record release of The Bee and The Stamen at Switched On Garden 002 Festival. The event was curated and put on by Data Garden at Bartram Gardens in Philadelphia.
King Britt: Electronics, Monome and keys
Pia Ercole: Vocals
Video courtesy of Liz Hayes who happened to be filming

We spoke in our preview about the intersection of nature and music in this event; now, we have photos from The Switched-On Garden this month, by photographer Inna Spivakova. Slide show:

More information:

Data Garden (with more of this nature-meets-music goodness, and albums you can recycle by planting as seeds):
http://datagarden.org/

The Bee and the Stamen album page:
http://store.datagarden.org/album/the-bee-and-the-stamen

Twitter:
@DataGRDN
@KingBritt

Crookers break up, Serato DJ software is revealed, David Guetta drops new video, and Roger Linn shows off shelved products

Delivered... Ken Taylor | Scene | Fri 19 Oct 2012 4:00 pm
Happy Friday! In today's news, we start with a few big announcements, including the untimely break-up of Crookers and the timely unveiling of Serato DJ. So let's get at it!

Tokyo Blip: A Chip Music Interlude for Blip Festival

Delivered... Peter Kirn | Scene | Fri 19 Oct 2012 3:54 pm

http://www.youtube.com/watch?v=AhmUYpMMbMk

How do you prefer to compose? Pen and manuscript paper? Recording ideas from a piano? Firing up your favorite music software? How about … coding in 65c816 Assembly language?

The trio behind this video prefers the latter, more intensive approach, to get close to the chip hardware by communicating directly with the Super NES. It’s one heck of a way to make an invitation to an event, but that’s just what they’ve done, in celebration of Blip Festival Tokyo 2012, in a kind of audiovisual spectacular. With code by Batsly, music by Zabutom, and graphics by KeFF, the result is a throwback to the demoscene of yore. (Kris Keyser notes that I should point out that the SNES is sample-based, not synthesis based as you might have with the NES. It’s still … a lot of work.)

YouTube looks good, but running this directly looks better, so you can point your SNES emulator at this free file:

BlipFestivalTokyo2012.sfc

Quoth Andrew: “The hardware is a bitch – but it has some really sweet features … the 65c816 – 8/16 bit selection blows.”

Amen, brother. Thanks to music hacker Todd Bailey for the heads-up.

DJ Views, Any Way You Want Them: Next-Gen Serato DJ UI, In Screenshots [Gallery]

Delivered... Peter Kirn | Scene | Fri 19 Oct 2012 2:03 pm

Now that DJ tools do a lot of the same things, part of what would prompt you to use one is what you see. And what you see is a lot of what a DJ tool offers.

Serato announced earlier this month that it was overhauling its somewhat fragmented offerings and replacing them with one next-generation alternative: Serato DJ. But the one thing we couldn’t do was see it. We could see the Pioneer hardware designed to go with it, but not the new UI.

That change today, as Serato releases a slew of images of the software, which is due at the beginning of November.

This isn’t just a skin-deep overhaul: the new UI reflects what the software is now about. In fact, it looks like a viable challenger for some of the things Native Instruments’ Traktor offers, presented in a more – well, Serato-y way. And one thing it looks like you’ll get is a lot of control over what you see, with any combination of decks, the library, and effects.

Among your display options:

  • Virtual decks with track information
  • Cue points and loops, in combination, with looping controls
  • Effects controls, for the new iZotope effects
  • Improved beatgrid editing
  • SP-6 sample player
  • Reworked layout, with extended library and deck views (best illustrated by the screens here)

It all looks quite lovely. In fact, with Serato looking so nice, my one and only plea is that it seems Serato desperately needs to offer a solution for people who want to use the software without plugging in the controller hardware. There are countless times I’ve watched DJs prep a set sitting on an airplane or train (in fact, every time I travel now, it seems I spot Ableton or Traktor somewhere), to say nothing of the times you have to squeeze into a small booth. With the software getting a lovely refresh like this, it seems the time is near to unlock the software. (I know, piracy, etc., but… that doesn’t change the need.)

It also occurs to me how nice it’d be to have some of these cue points and waveform views in Ableton Live – not only for doing Live DJ sets, but because having that kind of control and visual feedback is generally useful when playing with sound.

Serato users will see this early next year, unless they spring for the new Pioneer hardware next month. I hope we’ll have a closer look at the new hardware/software combination soon; stay tuned.

Serato DJ with some of those new effects at the ready.

If you want to focus on the library, you can.

You can even run in four-deck mode with waveforms and decks collapsed, and the library still in focus.

The SP-6 module also looks compelling.

Try two decks with vertical waveforms instead of horizontal, if you so choose.

More four-deck action.

Previously:
Scratch That, ITCH: Serato DJ the Future of Serato, First Integrated Hardware from Pioneer [Gallery]

http://serato.com/

See Emptyset collapse

Delivered... RA - The Feed | Scene | Fri 19 Oct 2012 12:02 pm
Static is the theme on the video for "Collapse," the crispy B-side of the duo's new EP for Raster-Noton.

Ayah Marar and Cutline release "Mind Controller" for free; grab it now

Delivered... Sean Lewis | Scene | Fri 19 Oct 2012 12:00 pm
You may recognize the beautiful vocals of Ayah Marar from Camo & Krooked's "Cross the Line," Dilemn's "Talk About Us," or previewing the upcoming LP from Calvin Harris. Additionally, you may have know the dubstep duo Cutline from "Let Me Go," "Runnin'" with Belle Humble, or their more recent work with Fleur entitled "Broken Mirror." With any familiarity with each of their styles, you'd probably think that a collaboration between the two would be perfect. So, lucky you—because we've got Cutline's remix of Ayah's awesome new track for you. But better yet, we're giving it away for free.

DJ Harvey: Back in the motherland

Delivered... RA - The Feed | Scene | Fri 19 Oct 2012 8:02 am
"I'm coming with all guns blazing and a heart full of love." The Quietus speak to the revered selector ahead of his first UK appearance in over a decade tonight.

D&B producer Stray talks straying from Leeds, basement studios, and resetting the music industry

Delivered... Sean Lewis | Scene | Fri 19 Oct 2012 8:00 am
2012 has been good to drum & bass producer Stray. Teaming up with Sabre and Halogenix earlier in the year for an EP resulted in an absolutely phenomenal single with Frank Carter III called "Oblique." Stray's latest EP, "Follow You Around / Contract," on Blu Mar Ten's imprint, features a unique sound that takes you from sublime on the first track to dark, rolling rhythms on the second. With his follow-up due next month, we were happy to catch him for a quick interview to find out more about his background, productions, and upcoming projects.

RA exclusive: Stream Michael Mayer’s Mantasy

Delivered... RA - The Feed | Scene | Fri 19 Oct 2012 3:00 am
The Kompakt boss is due to deliver his first album in eight years next week; here's your chance to get re-acquainted with one of Germany's biggest names.

Exclusives : 10 Years of Filter: Issue #18 Cover Story: The Flaming Lips

Delivered... info@filtermmm.com | Scene | Fri 19 Oct 2012 12:00 am
10 Years of Filter: Issue #18 Cover Story: The Flaming Lips

2012 marks FILTER Magazine’s tenth year in print. To celebrate, we are looking back at some of our favorite magazine features, from July 2002’s Issue #1 all the way up to this coming November’s Issue #50.


Below you can read the entire cover story from Issue #18, in which we get the honest inside scoop from Oklahoma City-bred frontman of The Flaming Lips, Wayne Coyne, regarding his personal truths, the band's growth, and organized musical mind explosions hosted in parking lots. 


Continue reading at FILTERmagazine.com

Mix of the day: Dusky

Delivered... RA - The Feed | Scene | Fri 19 Oct 2012 12:00 am
The rising London duo presents a host of unreleased material alongside tracks from Joy O, Kerri Chandler and MJ Cole on their debut appearance on the Essential Mix.
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