Carl Cox has shared a new remix on Armada Music.
Following the release of his first solo music in two years, a techno track called ‘PURE (El Rancho Mix)’, Carl Cox has returned with a remix for Kenneth Bager and Jez Phunk on Armin van Buuren’s Armada music.
On the remix, Coxy transforms ‘Farmacia (Homage to Frankfurt)’ from tech house to a driving, club-focused techno roller, with deep bass and thunderous drums.
Speaking about the remix, Coxy said: “‘Farmacia (Homage to Frankfurt)’ was already a work of art when it came to me. All I could do was paint a picture that I believed would complement the original track. I added in strings and built on the drums and emotion of the track to bring out the best of what was already there. I wanted to turn it into something classic and Techno-ish, but I also wanted it to be the most beautiful thing I could construct out of something that was already beautiful.”
You can check out the remix below.
The techno DJ recently spoke in an interview with Sky News about the resurgance of illegal raves and parties in the UK, blaming it on the government and the lack of a clear timeline on clubs and festivals reopening.
Cox told Sky News social distancing means nightlife just cannot operate as normal. “These illegal parties are basically done out of frustration,” he said. “Just done out of showing it’s our right to do what we want to do. It’s not the answer to this.”
Swedish electronic pop artist Storme shares the velvet-smooth single “Kite”. Blessed with such unique and icy vocals, Storme’s tender soundscapes make for an infectious listen.
Dotted with electronic pulses, “Kite” builds upon layered textures to recreate the natural environments Storme surrounds herself with. Submersing herself into the restorative powers of nature, the singer-songwriter draws upon the influence of nature. “Kite is the first real Summer song I’ve written,” explains Storme. “It’s about an inner journey. There was a day in early June when I was walking in the woods. I felt my body relax, and I could really breathe again, for the first time in a long time. I almost felt like a bird chasing the sun.”
There’s a tenderness to this track; it feels reenergising whilst also offering a moment of lucid escapism. Storme’s inimitable style is exciting and also calming, like a warm, peaceful Sunday afternoon. Forget those meditation classes and tune in to Storme for worthwhile meditiative melodies.
Seanyy is building strong case for his electronic candidacy, and as his latest single, “Be Like That” evidences, his breakout is poised to be anything but quiet. The electro anthem arrives ahead of Seanny’s debut EP, a project that’s shape still remains nascent at this time, but glimmers of what is to be expected are apparent on “Be Like That,” a rollercoaster of sharp, effervescent builds and breaks with an energetic ebb and flow. The winding dance record has arrived via Seanyy’s very own imprint, Swerve Collective Creations.
As with most ear-catching productions, “Be Like That” comes with a serendipitous backstory. Speaking on the one-off’s creative foundation, Seanny, a Finance Officer in the United States Army born Sean Danielczyk, said,
“It originally started out as a remix of Justin Caruso and Rosie Darling’s ‘High Enough.’ I was in a time crunch to finish it as I was heading to Air Assault school in one-week…I didn’t end up winning the contest, but I remember the drive home from Grafenwoer, blasting the finished tune on repeat. I will always correlate this track wtith those brutal two-weeks at Air Assault. Fast forward almost two-years, and I’ve revisited the project and turned it into an original. I got so much positive feedback from the original remix that it just felt shameful to not officially release it. That’s how ‘Be Like That’ was born.”
Featured image: @max_stills/Instagram
Atlanta bred-rapper Mulatto has teamed up with legendary Gucci Mane for her new track “Muwop”. The burgeoning rapper has been hitting social media outlets all week with her own version of Gucci’s iconic album and mixtape cover art. The highly anticipated cut definitely brings some early 2000s nostalgia.
Paying homage to her role model, “Muwop” pays its dues to Gucci’s 2006 single “Freaky Gurl“. Produced by J.White Did-it, Mulatto floats over a smooth interpolation of the catchy chorus. Sampling the original track, she lays down a spicy sixteen. “This boy thinks I love him, bitch I’m Big Latto not Suzie”, she climbs all the way into her bag as she delivers boastful bars. What would the track be without another verse from the man himself? Tapping the Zone 6 rapper for a feature, “Muwop” comes full circle.
Like the women before her, the Rap Game veteran is relentlessly making a name for herself in the industry. Tapping Trina and Saweetie for her “Bitch From Da Souf” remix, Mulatto is proving that she can hang with the big ones. Coming strong off her 2019 EP releases Big Latto and No Panties, she’s back in the studio to drop some more heat. With a handful of singles dropping halfway into the year, listeners can expect much more from the talented lyricist.
Read our spotlight on Mulatto here.
A new community portal called the Black Junglist Alliance (BJA) has been launched.
Founded with the aim of uniting Black artists, professionals and creatives from the world of jungle/drum & bass, BJA will rovide a media platform — BJATV — to showcase Black talent in the drum & bass scene, offer guidance and advice, all while acting as a catalyst for learning and collaboration.
Following his viral Facebook videos calling out Hospital Records for their part in the whitewashing of the drum & bass scene, founder of the Black Junglist Alliance, Chris Inperspective, said in an op-ed piece for DJ Mag that “the route to real change is more Black ownership” and that the “foundation is something you can build upon”.
Some of the other founding members of BJA include Chris Walton, Caldey Muffett, Neil Stevens, and Charlotte Toney, and the platform “are determined to usher in an exciting new future for the scene, where fairness and equality take centre stage.”
You can apply for the Black Junglist Alliance here.
In 2018, EQ50, co-convened by Indra Khera (Mantra) & Natalie Wright (DJ Flight), alongside organising members Natasha Harber (Sweetpea), MC Chickaboo & Alicia Bauer (Alley Cat), launched to support aspiring womxn in the drum & bass scene. In July this year, they launched a 12-month programme to place five womxn producers with an EQ50 mentor, and assign the mentee with one of EQ50’s partner record labels, which include Shogun Audio and Ram Records. During the scheme, successful applicants will recieve regular A&R sessions, production classes with label affiliates, practice DJ sessions in clubs, booking agency masterclasses, and more.
The Model:Cycles is a six-track, FM-based groovebox. It features six FM-based machines: Kick, Snare, Metal (a “flexible metallic voice for hi-hats, cymbals and more”), Perc, Tone, and the four-voice Chord.
Elektron’s ‘Model’ line is their most affordable gear. While it loses many of the capabilities of its higher-end Elektron counterparts, the line also arguable gains in immediacy and ease of use.
The Model:Cycles is available with a street price of about $300 USD.
“Model:Cycles is a six voice FM Groovebox which uses the concept of machines, like many Elektron instruments, with the focus on FM synthesis. The sequencer follows the Elektron concept of parameter locking – which they have pioneered and made extremely usable – with each step (up to 64) being an independent state or snapshot.”
“Perfect Love” is the culmination of an ongoing collaboration between producer/songwriter Rachel Eckroth and vocalist Sy Smith. Like the title, the track itself is a thrilling piece that is made up of ethereal synth arrangements, atmospheric pads while Smith ramps it up with her sublime honeyed vocals. She takes the listener on an epic journey of love in it’s purest state and pours all her deepest emotions on wax. The chemistry between the duo gets more obvious as the song progresses and hits the climax with Smith’s explosive chorus and Eckroth’s sparkling keys.
For the coordinating video, Eckroth and Smith team up with director Tatch Taboada who goes for a vintage aesthetic. Smith plays the central character in this psychedelic effect driven video filled with bright digital landscapes and motifs that blur into each other. Taboada also decorates his frames with signifiers of romance: white horses, vibrant blossoming flowers, sunsets. It’s a perfect visual representation of the rapturous music of Eckroth and Smith, and the intoxicating chemistry they create. “Perfect Love” is more than perfect and it’s strictly for the grown and sexy only.
The team at MOTU has been busy in the past weeks, posting some in-depth webinars on production. Some feature the flagship DP10 DAW, of course, but there are some great tips for the M-series audio interface and its free Performer Lite, too.
Make a film score in Performer Lite
Performer Lite replaces MOTU’s old entry-level Audiodesk as “that free audio software MOTU bundles with their audio interfaces.”
Here’s the difference – you’re far more likely to use Performer Lite, and it’s way more modern.
I’ve routinely explained that part of why DP is still a thing is that it’s absolutely beloved by people scoring video, and its competitors can’t quite match its features. The surprise is, Performer Lite introduces a lot of those essentials. So if you’re pondering DP or getting more heavily into scoring, here’s a free way to get going – with software you might already own.
(I know a lot of you got those excellent M-series audio interfaces – I finally broke down and bought an M4 myself, even with some other audio boxes around, and it was hard, because it was sold out. So yeah – you’ve got this software, even if you didn’t touch it before.)
MOTU has getting started Performer Lite videos, but let’s skip straight to watching the cool stuff it can do from start-to-finish making a movie soundtrack:
If you’re in a long lockdown that hasn’t ended or entering a new lockdown or wondering what else you can do with your music skills – now’s a great time to get into this kind of scoring.
Also, you know, humpback whales!
DAWs are finally catching on to the idea of nonlinear clip launching. (*I’ll leave out Cakewalk some years ago, as I think even among its users it wasn’t so widely used.)
DP’s implementation is really sharp, and it doesn’t just feel like Ableton Live mashed into DP – though as a lot of DP users probably do use a bit of Live, you’ll feel at home. Instead, you get a MOTU-style take on the concept, and in the context of DP’s unique production tools and scoring-friendly markers and whatnot. And this stands toe to toe with the recent addition of clips to Apple’s Logic Pro – but without requiring you to switch to Logic if you don’t like it.
Last week, they gave us a view of how to work with it. And crucially, this is as MOTU always is friendly to working with video, scoring, and even features like varying tempo in sophisticated ways. Plus you can work with a ton of advanced features, multi-triggering, Chunks, and a workflow that seamlessly gets back to linear arrangement when you need it.
The video and Chunk features alone are things you don’t really get anywhere else – including in Bitwig Studio, Ableton Live, or Apple Logic Pro. There’s a reason we have so many DAWs, basically.
DAWs are also all pretty mature at this point when it comes to time stretching and groove quantize, but differ on subtler points. So DP is also pretty specific in how it works with time stretching, on-the-fly quality changing, working with the Waveform Editor, and specific quantization techniques.
So there’s a lot in this video, too. I’m reminded that I’m not a clinician, so I sure learned plenty.
Plenty more on their channel.
Have fun. And MOTU, really, you should bring back Mark of the Unicorn as your name. Doesn’t everybody love unicorns now?
Nashville Americana pop band Front Country, drop their exhilarating new single “Amerikan Dream.” A song about the ideology opposed to the reality of America and everything that it beholds, Front Country delve into all of the secrets and corruption that lies deep within. Featuring feverous guitars, descriptive lyrics which light e flame of imagination and palpitating percussion, the track comes to life resulting in the ultimate foot-stomping anthem.
Singer Melody Walker shares in their press release, “From our racist colonial roots to our economically divided present, the “American Dream” has never really been accessible to all. Since it is a belief more than a fact, the first step in changing it is to dismantle the dogma within ourselves so we can be free to imagine a better country together.”
Originating from San Francisco, the threesome have been building a dedicated following across the nation, describing their journey as a type of metamorphosis and a beautiful pursuit of self-discovery. “Amerikan Dream” is their first single off of the highly anticipated new full length Impossible World set for release early 2021. What’s clear is that whatever they are doing, they’re doing it well and we can’t get enough of it.