No stranger to heavy bass stylings, WHIPPED CREAM temporarily shelves her riotous proclivities for a smoother course on “I Do The Most,” a crossover that sources vocals from Lil Keed. The languid crawl of the new cut juxtaposes with the racing paces that largely define WHIPPED CREAM’s catalog, treating streamers to an alternative sonic approach from a producer who is never shy when it comes to invoking the low-end.
Although WHIPPED CREAM keeps the fiery ascents and descents on standby on “I Do The Most,” she nevertheless wields bass as resounding support for Lil Keed’s versework. Offering a slick deviation from her usual output, WHIPPED CREAM’s newest work, “I Do The Most,” manages to straddle the fence between hip-hop and electronic territory in a way that highlights a lesser seen side to her multifaceted production skills.
Podcast interviews with Flume aren’t exactly a dime a dozen. Though the virtuoso producer was recently brought out of his shell by girlfriend and host of the My Friend Podcast, Paige Elkington. In the 30-minute interview, Flume appears as candid as ever alongside his significant other, wherein the two discuss Flume’s deep love for producing as it’s challenged by his equally deep aversion to touring.
During the interview, the 28-year-old Grammy winner opened up about his struggle with anxiety—amplified by the thrust from his bedroom studio to arenas and festival main stages in a matter of months. Flume admits he considered quitting music all together, reminiscing about therapy sessions and semi-sarcastically using the term, “I hate my job” since public speaking is his worst nightmare. Flume admitted he would drink alcohol to calm his nerves, citing Avicii’s trajectory as similar to his own; thankful to his management for prioritizing his mental health over everything. Recognizing the early signs of a pattern forming, Flume put the bottle down and focused on therapy and meditation; now, he’s not even drinking before shows to pacify the stage fright.
“I feel like a bad person for saying that, but it’s true, I love making music, I hate touring,” Flume tells Elkington. “It’s true. I’m not cut out for this.” Finding a balance in the right anti-depressants, recreation, and his love for music, Flume continues by saying he’s happier and healthier as a result. Learn more about the Skin producer on the My Friend Podcast below.
DYNOHUNTER have released their self-titled album starting with the lead track, “Mojave,” which was inspired by late nights deep in the desert. This sets the tone for what becomes a long journey into DYNOHUNTER’s range of tribal, psychedelic, and progressive moods, spanning 11-tracks coming in a bit over a hour and twenty minutes of play time.
“Kingston Pulse,” premiered by Dancing Astronaut, comes armed with an undeniable bounce wrapped atop a mean bass groove and complementary synth stabs for the groups signature tension and release long-form arrangement style, playing towards their epic journey canvas. Throughout the piece, listeners are introduced to influences of world music in conjunction with house music, for example the tropical tribal slappers such as “Above the Fray,” “Usuthu,” and “Mama Paduri.” “Raimondi Sequence” and “Lost City of Enki” come from a more techno perspective, showing the group’s versatility within the electronic space.
Standing as one of the few live tech-house crossover acts in the scene, DYNOHUNTER are a three-piece ensemble from Boulder, Colorado whose forward-thinking live performance aspect and technical prowess earned them slots at Electric Forest and Bonnaroo this year. Their livetronica approach has caught the eyes and ears from some of their biggest like-minded counterparts, having opened for Papadosio, Eoto, Opiuo, Sunsquabi, Ott, and The New Deal, as well as supporting world-renowned DJs like Shpongle, Bonobo, Infected Mushroom, Klingande, and The M Machine.
“The release of this album is an awesome and welcomed milestone.” DYNOHUNTER told DA. “After all, we only get to release our self titled album once. Dynohunter is on a mission to dig deep, extract and create the vibe and sound we have dreamed this project to be about. Some of these tracks were started years ago and some as we formulated just as the idea for this full length album was born. Ultimately, this album peaks into every corner of our style and passes onto listeners what we feel is the essence of our sound. Sit back and be transported to our world!”
REZZ has put out her second single of the year in the form of Grabbitz collaboration “Someone Else.” The single sees both artists drift away from electronic and into rock in an experimentation that is ultimately alluring.
The single’s introduction would surprise any listener expecting to hear an electronic-leaning release. Driving guitar notes and Grabbitz’s punching vocals immediately immerse the listener in a rock soundscape. Subtle electronic bass layers are weaved into the chorus of the track giving the release the subtle bass touch fans know and love from both producers.
Grabbitz has released a stream of high-profile collaborations over the past year. The most recent release saw the producer deliver “At Night” alongside 3LAU and Shaun Frank. “Someone Else” is REZZ’s debut release on RCA Records.
Since the 2018 Collapse EP, Aphex Twin‘s SoundCloud page has lain dormant. What hasn’t remained dormant, though, is the SoundCloud profile of user18081971.
The renowned artist has taken to uploading to the alternative SoundCloud profile periodically, garnering nearly as many followers on the nondescript page as on the official one.
User18081971 recently blessed the world with six new tracks uploaded over the course of the past week, beginning on April 2. The tracks have trickled out gradually, starting with the three-minute “m11st lon” and ending with the most recent upload, “qu 1,” which debuted on April 6. The songs range in tone from contemplative and melancholy to the ’80s-leaning “tha2.”
Stream nearly a half hour of new Aphex Twin music below.
Many of us imagine visuals when we close our eyes and listen to music. Here are two devices you can drop directly into Ableton Live to make that happen – from an artist whose work weaves together visual and sonic realms.
Iranian-born, Armenia-based composer and music and media artist Arash Azadi has built his own body of evocative work that explores imagined topographies of sound and image. (We put out one on our Establishment project – see below.)
What’s special about these devices is you can connect to his imagination – and let these inventions interpret your music live, too. One works with generative visuals, and one with a camera.
Sonic Geometry is a reactive visual generator that spits out gorgeous abstract imagery in response to your sound input. It’s a minimalistic mathematical sacred sonic geometrical trip.
It’s also a great example of Max’s power to allow people to build on one another’s work and create variations. Sonic Geometry began its life as Sound Particles by Kevin Kripper, and Arash took it in another direction. That’s long been a part of music composition (see cantus firmus tradition for one example); patches and code in these environments make it easier in the medium of software.
The EP is a sonic pilgrimage of the soul liberating itself from the mind. Through repetitive phrases and circular rhythms, Azadi and Marutian create hypnotic soundscapes to open the windows of listener’s subconscious. The recording is the outcome of a fully improvised set at Azadi’s studio. This is the first time that Arash Azadi appears as the pianist on a record.
Marut Marutian: electric guitar and pedals. Video by: Karen Khachaturov Photography
There’s the side project Marginal Twilight, which marked the occasion of the Persian new year already disrupted by quarantine and lockdowns – a solitary new beginning:
In these times that we all are separated from each other and in fear of death, it’s good to realize that nature is becoming new and spring is bringing life to earth. Even now we can choose to celebrate life and Nowruz the Persian New Year (the New Day) through music and dance.
It’s earlier work, but I’m still quite fond of Arash’s Geosonic Journeys for us – and people slowly keep discovering its aural landscapes:
All the best to all our readers and my friends in Iran and Armenia and around the world. We’re listening. And I miss a lot of you.
On April 8, Grammy-award winning Ed Banger duo Justice are partnering with Mix With The Masters, a top-tier education platform for music producers, to host a free production webinar. The class takes place at 8:00 p.m. GMT (3:00 p.m. EST/12:00 p.m. PST). Those interested in watching just have to register for a free account with an email address which grants access to the webinar.
Classes are typically for members only; however, the Justice class will come at no charge to flood interest to the production education media conglomerate who boast thought leadership with major label Grammy-award winning engineers such as Michael Brauer, Chris Lord-Alge, Andy Wallace, Al Schmitt, Tony Maserati, and many more. In the video Justice is set to “go over their production approach and philosophy and answer all questions you may have about their workflow and techniques.”
Amelie Lens knows how to make a debut. After receiving an invite from Pete Tong to perform her first Essential Mix, Lens delivered the first four-hour mix the storied BBC Radio 1 program has seen since 1997. The extended set is an honor well-deserved for Lens, who has been quickly rising up the ranks of electronic music to become one of the hottest acts in techno at the moment
If her Essential Mix still isn’t enough techno for your taste, there’s plenty more Lens for you. The budding Belgian star also recently recorded a lockdown session from her home, featuring two more hours of tunes and a guest appearances from her cats.
120 bpm. 4/4. C major. Yawn. What if you could use those same Ableton Live project defaults to do something different? A new Max for Live devices dares you to do just that.
It all started with an idea from the mighty composer/artist Tyondai Braxton. DeveloperTim Charlemagne wove that notion into Scale-O-Mat – an all-in-one pitch transformer device for Max for Live (so compatible with any copy of Ableton Live Suite).
You can start simple – the devices let you change a scale over the whole project. You can filter out notes that don’t fit the scale, or constrain notes to the scale you want. That could mean basic transpositions, too – for instance, if needed by instrumentalists or vocalists.
But Scale-O-Mat goes deeper, too, with multiple devices that talk to one another, up to four different groups, a chord feature, presets, and of course, a ton of scales.
Ableton’s own Push hardware comes with a decent selection of scales and modes, from “church” modes like Dorian to Indonesian and Japanese selections. Tobias Hunke has added to those selections, which you should check out both for use with this device and outside it. Check those here:
In 2014, A-Trak earned Dancing Astronaut‘s Coachella Veteran Award after he and Armand Van Helden‘s raucous Duck Sauce performance. The renowned Canadian scratch god played at the very first Coachella in 1999, returning in 2008 and again in 2011, where he played both as himself and as Duck Sauce.
The disco house tandem commanded a rug-cutting crowd from under the stoic stance of their massive inflatable duck mascot, while dancers twirled around to footworking quack-jams like “Barbra Streisand,” and “aNYway.” Retro slices, bouncing disco cuts, and a vibrant crowd come together for what was Duck Sauce’s first live performance following the release of their beloved Quack LP. It was a show to remember, as the current resurgence of these disco house veterans has made for a more than timely look back at one of Fool’s Gold’s proudest exports.
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