A comprehensive version of Daft Punk’s ‘TRON: Legacy’ soundtrack just hit streaming platforms, bonus tracks and all

A comprehensive version of Daft Punk’s ‘TRON: Legacy’ soundtrack just hit streaming platforms, bonus tracks and allDaft Punk

On September 30, Mondo reissued Daft Punk‘s TRON: Legacy soundtrack, packaging bonus tracks along with the score’s time-honored originals in a double-disc vinyl format. Although the two-part timetable treat celebrating the film’s 10th anniversary sold out almost instantaneously, the TRON drop isn’t stopping there, as TRON: Legacy – The Complete Edition (Original Motion Picture Soundtrack) makes its way to streaming platforms.

This edition of the Daft Punk-helmed TRON score expands the amount of digitally available Legacy cuts, and notably offers an alternative listening option to TRON: Legacy, released January 1, 2010. Whereas TRON: Legacy collated 22 of TRON‘s inclusions, starting with “Overture” and concluding with “Finale,” TRON: Legacy – The Complete Edition (Original Motion Picture Soundtrack) spans 31 tracks, making all TRON content released to date available on one album.

Like TRON: Legacy, the new-issue digital LP also commences with “Overture,” but extends past “Finale” to encompass nine songs not previously on TRON: Legacy. These new additions start at “Sea of Simulation” (the 23rd tracklisting), and go all the way through the 31st tracklisting, “Outlands, Part II.” These nine additions specifically include all seven of the bonus tracks released via vinyl in September, as well as the two iTunes exclusive bonus songs, formerly only accessible on iTunes and Apple Music (“Father and Son” and “Outlands, Part II”).

Offering a hearty hit of Daft Punk, TRON: Legacy – The CompleteEdition (Original Motion Picture Soundtrack) can be streamed in full below.

Featured image: Alberto E. Rodriguez/WireImage

New ventilation system could make clubs and venues COVID-secure

A London nightclub will pilot a new ventilation system in January that could lead the way in making clubs and music venues more COVID-secure. 

According to an announcement on their Instagram, London’s 100 Club on Oxford Street will be the first to trial the system designed to eliminate as much as 99.9% of airborne pathogens, including coronavirus.

The Pathogen Reduction System (PRS), developed by engineers, scientists, and medical experts, utilises a similar technology to that used in water treatment plants. Fitting a building’s existing ventilation system, it works by cleaning indoor air “using high intensity UVC light to safely inactivate 99.99% of dangerous airborne pathogens such as COVID-19, MRSA, measles, TB and the common flu virus”.

The trial aims to demonstrate the possibility of creating future COVID-secure indoor environments with more financially sustainable “pre-pandemic” audience numbers. 

Speaking in a press release seen by NME, 100 Club owner Jeff Horton said: “This is an opportunity to be leading the way in getting grassroots music venues and the entire hospitality industry open again after the dire consequences of COVID-19.”

The PRS trial is backed by the Music Venue Trust. CEO Mark Davyd said in the press release that the UK government should work with the live music industry to deliver a ‘Test, Clean, Prevent [TCP] model’ to prevent the virus entering events to “create an economically viable sector with a negligible infection risk.”

Davyd explained: “In the UK, risk management is currently built around ‘Hands, Face, Space’ [HFS], which act together to prevent the spread of infection. Whilst effective, it’s impossible to enforce in a live music setting and, with capacity reduced to an average 24% of normal, is financially impractical to impose. We need a model like ‘Test, Clean, Prevent’ [TCP] that works to prevent the virus entering our events, disables it if it squeezes in and prevents it from harming anyone if it makes it past those two layers.” 

UK nightclubs have been closed or operating with strict social distancing measures since the coronavirus pandemic first restricted large gatherings since March this year. Several, including Egg London, have turned to crowdfunding to help ensure survival, meanwhile, the Music Venue Trust have continued to work on a series of campaigns to rescue venues from permanent closure. 

Monki – Queen Of Hearts

Monki – Queen Of HeartsMonki 18.3.19

Lucy Monkman, otherwise known as Monki, has just released her latest track, “Queen of Hearts,” via her own label & Friends. The progressive house anthem straddles generations, giving off an 1980’s prowess that spawns an early electronic feel. Spanning nearly seven minutes, “Queen of Hearts” shares a continuous beat with background synths that seamlessly glide across the track.

Offering an undeniable groove, Monki yet again showcases her unceasing talent on “Queen of Hearts.” Having previously run her own show on BBC Radio 1 and now, hosting a show on Defected radio, Monki has proven to be a tastemaker of this generation of dance music.

ATTLAS reworks ‘Out Here With You’ into continuous mix [Q&A]

ATTLAS reworks ‘Out Here With You’ into continuous mix [Q&A]MTYTaUCTkWVD857fbPK7VJuMW37KUFgqerJ39it 1

In early November, ATTLAS surprised fans with his second album of the year, his calming and uplifting Out Here With You. Now, the mau5trap producer has given the LP a complete overhaul, transforming the original material into a continuous mix. Titled Out Here Together, the new mix is rearranged in a way that better reflects a cohesive storyline, loaded up with samples to assist the narrative. To accompany the mix, serial-collaborator Cyclo also crafted a continuous edit of his visuals, including ideas meant for eventual live-shows. Cyclo explained,

“To create this longer piece, I knew I wanted to keep all the visuals that we had made for the album but I also wanted to bring in some of the visuals I had built for the live show that me and [ATTLAS] had started planning. With him adding these breaks in the music with quotes, it was a great chance to bring in the plants behind rainy windows as moments of reflections. I very much approached this mix as a way to look back and reflect on the year, but also feel hope about what is coming next.”

Dancing Astronaut also caught up with ATTLAS to ask about what inspired the new mix, where the samples were pulled from, and what he hopes people take away from the mix. Find both the mix and the interview below.

What inspired you to rework Out Here With You into this new format? You’ve also put several new samples into Out Here Together. How do the additional samples help convey the story line you’ve structured here?

ATTLAS: “So the impetus for this project was simple enough from the get go—the label (mau5trap) wanted a continuous mix of the album. In most, if not all of my studio-constructed mixes, I try to incorporate scenes and characters and a narrative structure. They’re a loose narrative; however, they’re human enough that you’re drawn in with curiosity and empathy, but not so specific that they leave the listener unable to relate. The most elevated execution of these techniques and ambitions is my storyline series. No matter where I’m playing a set or what new music I’m releasing, the feedback always comes back to ‘when’s the next storyline?’

While this isn’t a storyline ‘technically,’ it’s in the spirit of it. As I started building the continuous mix for mau5trap, I quickly realized that the album order wasn’t necessarily the most conducive to the kind of mix I wanted to prepare. I started re-assembling the album order with tracks that were reproduced in new keys to better suit the continuous immersion I was striving for with the project. As the music side of the mix took shape, what began as a hunt for the perfect intro and outro narration turned into the deeper process of quote-sourcing and character building that typically happens as I build storyline.

The quotes themselves in this mix are deliberately about vulnerability and being able to open up to someone. The album itself was about that surrender in a year of unpredictability and letting myself appreciate the goodness that still persisted. Nevertheless, there has been an enormous toll taken on so much of our psyche, our souls, our hearts and our confidence. The mix opens with an invitation to talk and closes with seeking confidence in a friend. We’ve had to do that so much more this year. Being okay with weakness and vulnerability and being willing to open up that part of your messed up and confused heart and mind to another, and to do so in trust. The mix brings the album into a new place that’s about visual wonder and human connection. For whatever happens next, we’re out here together. For ourselves, for each other.”

Get lost in Imanbek and Goodboys’ ‘Goodbye’

Get lost in Imanbek and Goodboys’ ‘Goodbye’Imanbek Press Photo

Kazakh producer Imanbek saw a momentous rise into notoriety just six months into his music career, thanks to his unofficial remix of SAINt JHN’s “Roses” catching fire and going viral. Now, the producer, declared one of Dancing Astronaut’s Artists to Watch in 2021, channels the same sound and energy that struck in his first release with “Goodbye,” a collaborative effort with Goodboys.

“Goodbye” is a brilliant blend of ear-catching vocals infused with a pulsing house drop that is suitable for both radio play and live performance. The energy of the single, a humming bassline, and building synths keep the track moving out of Imanbek and Goodboys’ studios and onto streaming platforms. “Goodbye” is out now via Effective Records.

Miami Vice Crocket’s Theme On Vintage E-Mu Emulator II

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RetroSound‘s Marko Ettlich shared his take on Jan Hammer’s Crocket’s Theme, from the Miami Vice soundtrack.

“I sampled my synths for this cover version and I used the EII factory library,” he notes. “In the original track, Jan Hammer used the Jupiter 8 for random arpeggio bass, Fairlight voices, Linndrum, DX7 Koto…”

Technical details:

All synthesizer sounds: E-MU Emulator II sampling synthesizer (1984)
Drums: E-MU
Recording: multi-track
FX: reverb and delay

See our interview with Jan Hammer for more on the Miami Vice soundtrack.

Zelda’s Lullaby On Haken ContinuuMini

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Composer and ContinuuMini performer Josh Madoff, aka MiniMan, shared his take on Zelda’s Lullaby.

“The mini is so expressive and dynamic, it already feels like an acoustic instrument,” notes Madoff, “but it’s still amazing to me how naturally the ContinuuMini blends with actual acoustic instruments.”

Zelda’s Lullaby comes from the Zelda: Ocarina of Time soundtrack, by Koji Kondo.

Korg Wavestate Berlin School Synth Jam

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This synth jam, by Thomas Hammer, aka Waveformer, explores using the Korg Wavestate in a Berlin School style.

The live performance was done with a patch/performance called WF Berlin Sternwarte, part of Hammer’s Berlin School and Ambient Construction Kit.

Here’s what Hammer has to say about the technical details:

“The performance uses four layers. Layer A is an arpeggiator, Layer B is a solo instrument, Layer C is an arpeggiated bass and layer D is a pad.

Layer A (arp) and Layer C (bass) use the Multi Filter and morphs between a low pass filter and a band reject (notch) filter using the Pitch Envelope, adding a nice and bouncy attack. For Layer A, I have mapped the Mod Wheel to control how much the Pitch Envelope affects Filter Morph and mapped the joystick to Filter Cutoff, Env amount and Morph amount. During the jam, I felt the need for some racheting, so I added that as I played, using the Step and Shape Sequences to trigger the Filter and Amp Envelopes. See the patch notes in the video for more details.

Layer B (solo) also uses the Multi Filter and morphs between low pass and band reject (notch) using the Pitch Envelope. Changing Pitch Envelope Decay controls how fast the higher frequencies fall off. Filter Envelope Decay is also nice to play around with. And the sample can be changed with the Layer Mod Knob 3/Sample, or just setting Sample Sequence Start position with shift + START.

Layer D (pad) plays through a series of wavesamples with a time sequence with both short and long steps, with random probability. As for the other layers, I use the Multi Filter and morph between a low pass + band pass filter to a band reject (notch) filter. The latter let all the high frequency content from the wavesamples through. The Pitch LFO is set to a random waveform and routed to a gate in the Mod processor, and the output from the Mod Processor controls the Filter Morph amount. the result is a series of bursts of high frequency content at irregular intervals. This is fed through a delay and reverb, and it makes the pad more interesting and unpredictable.

Performance mod knobs:
Knob 1: Layer A (arp) Octave
Knob 2: Layer B (solo) Octave
Knob 3: Layer C (bass) Octave
Knob 4: Layer D (pad) Octave
Knob 5: Layer A (arp) Amp Level
Knob 6: Layer B (solo) Amp Level
Knob 7: Layer C (bass) Amp Level
Knob 8: Layer D (pad) Amp Level

During the jam, i add more wavesamples to the Sample Sequence for both Layer C (bass) and Layer D (pad). A little bit of menu diving (or rather, menu snorkling, as was suggested in one of the Facebook groups) in a live jam.

Sample Sequence for the bass layer
– Enter + Step to solo the step
– Step A1: MS: Wave: Pulse LoFi 250
– Step A2: MS: Wave: Saw Chroma
– Step A3: MS: Wave: Saw Down A2600
– Step A4: MS: Wave: Square A2600
– Step A5: MS: Wave: triangle LoFi
– Step A6: MS: Wave: Wobble Wave
– Step A7: MS: Wave: Ramp MG
– Step A8: MS: Wave: Pulse 10% A2600
– Enter + Step to disable soloing
– Note advance

Sample Sequence for the pad layer
– Enter + Step to solo the step
– Step A1: MS: Syn_WS: Voice Syn
– Step A2: MS: Syn_WS: Magiq 1a
– Step A3: MS: Syn_WS: Synth Pd2
– Step A4: MS: Vox: Pop Ooh
– Step A5: MS: Vox: Choir Whisper F
– Step A6: MS: Vox: Tape Boys Choir
– Step A7: MS: Syn_WS: Spectrum
– Step A8: MS: Syn_WS: Res Wave
– Enter + Step to disable soloing
– Note advance

The audio is recorded to SD card on a Zoom R16 and normalized in Audacity. Video is recorded on iPhoneX. Audio and video is synchronized in DaVinci Resolve 17.”

LCY drops new single and video, ‘Garden of E10’: Watch

LCY has dropped her first official single, ‘Garden of E10’, via her own SZNS7N label – with accompanying visuals directed by the artist herself. Check it out below. 

Laying the foundation for a forthcoming project in the works for next year, ‘Garden of E10’ is a ghostly metallic and bassy cut with warped vocals and textured percussion.

The accompanying video solidifies the artist’s vision of uniting her visual and sonic identities after dropping her previous alias (L U C Y) and removing her once signature mask at the start of this year, “in exchange for a more honest approach to music”. 

While ‘Garden of E10’ is LCY’s first single proper, she did debut the new alias at the beginning of 2020 with an introductory self-titled release

Directed by LCY and Lawrence Blackwell with animation and post FX from Jordan Chappell and others, the artist transforms into a new character via prosthetic makeup and AV effects, entering a unique creative universe which builds as the track develops.

Speaking about the release, LCY said: “During an inevitably anxious year in the material world, I’ve spent the last 12 months focusing my time on escapism and the conceptual realm of my first fully realised universe.

“This is the first single/video based around this narrative – with the visuals focusing on my personal relationship with world building.”

LCY has also remixed ‘Only God Can Tell’ from Krust’s ‘The Edge Of Everything’ LP, joining Calibre and Flynn on the forthcoming ‘Krust – TEOE Remixes #2’ EP. You can check that out here.  

You can stream ‘Garden of E10’ here and watch the accompanying video below. 

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