The accompanying music video for “Ride Or Die,” directed and animated by the New York creative studio Art Camp, was in production for nearly a year as 2,400 pages of hand-drawn art were modeled and animated in 3D. The hand-painted collaborative audio-visual was auctioned off as a non-fungible token (NFT) for $24,000 via Nifty Gateway. The two singles follow the German producer’s recent remix of Shygirl’s “TASTY,” as well as his meme trap song “Game Stop (Wen Moon),” released via Audius.
Four unreleased remixes from the late house pioneer, Frankie Knuckles, will get a vinyl issue this year.
Thirty years since their creation, four unreleased Frankie Knuckles remixes of Electribe 101’s ‘Heading for The Night’ will be made available on 12″ vinyl.
UK-based electronic group Electribe 101 released their only album, ‘Electribal Memories’, in 1990, reaching number 26 in the UK charts. The album also saw remixes from some of the most in-demand remixers of the day, including Chicago House legends Frankie Knuckles and Larry Heard.
Speaking about the newly uncovered remixes, Electribe 101’s Billie Ray Martin said: “Frankie had already done such an incredible job with ‘Talking with Myself’ and he was smitten with ‘Heading for The Night. He enjoyed mixing it so much that he did six mixes, each one brilliant and soulful in its own way. His effortless and perfect vocal production while creating a more danceable version makes this another Knuckles masterpiece.”
You can pre-order ‘Heading For The Night – The Frankie Knuckles Mixes’, which will be released on the 9th July, here.
In 2017, The Frankie Knuckles Foundation shared a video teaser of the legendary DJ and producer’s record collection, which is now housed inside Stony Island Arts Bank in Knuckles’ hometown of Chicago. The foundation was set up to protect Knuckles’ legacy and raise money and advocate for a variety of causes that were close to the legendary selector’s heart, including music in school, LGBTQ youth homelessness, diabetes research, and more.
Jimmy Edgar has been an unstoppable creative force for nearly two decades, consistently churning out creatively ambitious and innovative electronic productions. In February 2021, the veteran added to his legacy by releasing CHEETAH BEND, a remarkably innovative LP that tests the boundaries of modern electronic music. Complementing Edgar’s off the wall instrumentals are a true A-list of featured artists including the likes of SOPHIE, Hudson Mohawke, and Danny Brown. The record is as bombastic as it is experimental, and overall its a must-listen for fans looking for a totally unique sound.
Dancing Astronaut caught up with Jimmy Edgar to chat about his new record, his production style, collaborating with so many differing artists, and more. Read the Q&A below.
One of the standout traits in your music is your knack for sound design—what part of a particular sound tends to catch your ear most?
JIMMY EDGAR: I love the way sound can move your imagination. The way frequencies can let your brain follow an imaginary path or how a sound can inspire you to move your body in a certain way. As humans we want to be coherent with the sounds we hear.
You feature artists from a broad array of genres on CHEETAH BEND—how do you bring artists with such different skill sets and creative perspectives into your world?
JE: I don’t have a set formula, I just had a vision and it all fell into place. There honestly isn’t any pre-conceived idea that made them all come together, I just let my excitement create the path for everything to manifest. Of course I love the artists I work with and I had some visions of others that weren’t able to participate but that is all part of the fun. Instead of a bunch of planning I just went with the flow.
The music community has been reeling with the tragic loss of SOPHIE. You worked with her on “METAL,” if you’re comfortable with it, could you please share a little about the impact SOPHIE and her work had on you?
JE: SOPHIE was my best friend and a genius who I love very dearly. We spanned so much time together and taught each other so much over 10 years. It’s difficult to put it into words but if you can imagine a friendship that is so mutually exciting, learning from each other, supporting each other and inspiring every moment, then you can begin to understand her and I’s relationship. I’m at peace but she will be sorely missed by me and the world.
‘CHEETAH BEND’ is arriving 17 years after your debut project, what advice do you wish you heard when you were starting your career? And if you could go back and tell your younger self one thing, what would it be?
JE: Follow your highest excitement. Let your passion lead the way. Don’t ever listen to discouraging thoughts or words.
What’s the secret to sustaining such a lengthy music career without ever sounding stale?
JE: If you’re living your passion you won’t need any secret! Part of my passion is keeping things fresh, learning new things. Take risks. Don’t second guess your excitement.
What do you hope listeners take away from CHEETAH BEND?
JE: Honestly I don’t care!! I did my best and what I wanted to do so anything above that is a bonus. I could care less what people think of the album for real. Of course I would love people to love it with me, but I did what I needed to do. I knew I was finished when I was so grateful to have had the opportunity to make it and that’s enough for me.
Resolve 17 quietly exited beta recently – then turned heads by releasing a speedy Apple Silicon M1 version, too. That release also runs faster on PC, while you’re at it, and this is kind of the tool that does everything on every platform and a lot of it for free.
So it’s a video editor. But it’s also a visual effects tool. But it also is exceptional at color grading. But there’s also audio post-production built in. (Heard of Fairlight, maybe?) And despite the hype, in early versions it felt a little like it was trying to do a whole lot in a bunch of new ways. Now, steadily, Blackmagic have filled in a lot of those gaps. The all-in-one approach – and the ability to do some serious workflows even in the free version – differs pretty strongly from companies starting with the letter ‘A’. Both Apple (with Final Cut Pro, Color, Motion, and Logic Pro), and Adobe (with Premiere, After Effects, Audition, and its whole sprawling suite) tend to come at you with a bunch of different tools. Oh, and Avid. All of them that start with ‘A’ lack this level of integration. It’s almost worth looking at Resolve just to see what it’s like if those workflows exist in one place.
And if you’re curious to try it, even alongside your tool, here is an amazing 16-minute tutorial:
DaVinci Resolve – and (okay, you might need to pay a smallish fee here) Resolve Studio have some new high performance features. Both Resolve and Resolve Studio now run on Apple Silicon-based Macs, which for now is the M1 in the Mac mini, MacBook, and MacBook Pro.
It’s not just about the Mac, though. PC users – and Resolve runs nicely on Linux as well as Windows – get H.265 decode on Intel, too, plus if you have RED clips even OpenCL GPU support.
Here’s a tiny difference no one is talking about that I love – “Option to always perform copy and paste actions on selected color nodes.” Yes.
But Resolve is really an interesting choice, especially for the sorts of creatives who read CDM. If you’re an audio editor who also wants video, the approach to real post-production tools in a video editor is compelling. Ditto the rich node-based motion tools that are right in-house – and a ton of those are incredibly in the free version. (I need to tally up our current “no, seriously, it’s really free” tools, which now include Blender, Unreal, Resolve, and so on.)
Honestly, just having a working audio core is a big deal – and makes it even more evident when you switch to Final Cut. That Fairlight Audio Core got a huge upgrade in 17, and packed in some useful Fairlight FX, too. They want to upgrade you to Fairlight hardware and acceleration, but this stuff runs pretty nicely natively already. (Oops.) And there’s a Surround Sound analyzer.
There’s also transient analysis that lets you jump around in audio.
There’s a crazy AI-powered automatic mask creation, too, and multi-user collaboration is baked into the free tool.
All of this got a ton of attention back in the fall, but I think it’s even more worth mentioning now that it’s stable, there’s a ton of documentation and tutorial content out there, and it’ll run on that new Mac you’ve been eyeing yes okay this is me telling you you can go ahead and do it.
Here’s the full intro, including reminders that films you’ve seen lately might have been edited on this.
And here’s a great guide to real-world usage on the M1 Macs – with an indie / one-user sort of workflow that will likely be relevant to a lot of readers here. (The creator here uses a Pocket Cinema 6K and Sony A7III as examples and messes around with some color grading, LUTs, and visual FX. Yep, that sums up 95% of use cases or something like them.)
And yeah, that M1 really can deal with 4K even on the full range – so a MacBook Air is suddenly a 4K editing machine, which will be fantastic when we can be safely mobile again, even if now it means we can work on the couch. (That’s good, too, I guess.)
So yes – free + collaboration + strong ingest and edit workflow + motion graphics + serious audio tools and post-production = you’ll probably want Resolve on your machine, whether or not it’s an M1 Mac, and whether you’re doing some light editing of stuff you shot for yourself or serious video, motion, and post jobs.
There. It’s nice to have some good news, even tech news, that doesn’t involve something that’s destroying the Earth or ripping apart society. Just good, clean audiovisual work and play. I’m in.
Berlin Club Commission has unveiled a six-point plan to reopen the city’s venues.
Following the announcement from the Berlin Club Commission that nightlife in the city may not return to normal until 2022, the commission has now outlined a six-point plan to safely reopen clubs in the German capital, Berliner Zeitung reports.
According to BZ, the six-point plan, announced on Wednesday (17th), will include a run of pilot events with rapid COVID-19 testing, as well as a central information hub for clubs that will share hygiene concept recommendations and current regulations. Venues will be required to record visitor numbers, in order to adapt evolving regulations and better understand Berlin nightlife’s “economic situation”. Smart apps, research projects and an information campaign are also expected to be implemented across the city.
The first pilot event will take place on 20th March, with 1000 guests attending a performance from the Berliner Philharmoniker. Attendants will have to provide a negative COVID-19 test from an authorized Berlin testing centre one day before the event. Elsewhere, Säälchen, alongside the Club Commission, will host a concert the following week. A rapid COVID-19 test and ticket are available to purchase for €20, and surgical-grade masks must be worn inside the venue.
Pamela Schobeß, the chairman of the club commission, called the pilot project “a small but important step to be able to create a perspective for the entire industry again after one year”.
Last June, the German government announced they had committed €150 million to the country’s live music industry as part of broader plans to kickstart the economy amid the pandemic. The new scheme from the German government entitled Neustart Kultur, which translates to restart culture, will see the funds injected into the country’s live music and events industry, and comes as part of the government’s plans broader €1 billion plan to rebuild cultural and entertainment businesses.
Insomniac is launching a new record label “dedicated to bringing you the best in techno, house, and underground sounds,” Factory 93 Records. Factory 93 has long been a sub-brand of Insomniac, but until now it has focused its efforts on live events. Factory 93 Records has not announced what its inaugural release will be.
After tailoring his annual “Day of the deadmau5” show to COVID-19 safety standards last fall, deadmau5 is bringing the tour to Miami this Halloween season for a four-day run. Presented by Pollen, the 2021 edition of the mau5trap honcho’s spooky affair will take place October 28 – 31 and grants attendees the full extent of the Halloween weekend, starting from Thursday and concluding Sunday.
No other details have been announced thus far, with the exception of a short teaser clip from deadmau5. Whether the live occasion will follow last year’s drive-in format has not yet been revealed, although vaccine distributions and reopening projections forecast optimism for the event.
Dancing Astronaut has partnered with Toolroom Records to award three female DJs/producers scholarships to Toolroom Academy. To enter the contest and potentially score world-class virtual training in the house, tech house, and techno fields, contestants will first need to sign up here.
Upon registering their email with Toolroom, competitors will receive access to a sample pack that they can use to craft the demo that they will ultimately submit for consideration. Though producers are permitted to use other elements beyond the sample pack as they put the finishing touches on their respective submissions, they are encouraged to keep the Toolroom sound at the forefront of their creative efforts. All demos are due April 5, at which point Dancing Astronaut and Toolroom will collaboratively select three lucky winners whose names will be declared at Toolroom’s female-focused #WeAreListening event on April 8.
#WeAreListening is a women-dedicated digital affair championing female presence in the dance music industry. On April 8, an eclectic lineup of all-women influencers including Mollie Collins, Alex Mills, DJ Paulette, Hayley May, and more will participate in panels and seminars spanning various topics such as radio and broadcasting, DJing, production, community and networking, marketing, and mental health and wellness. The single-day event, promoted in partnership with Dancing Astronaut, complements Toolroom’s general #WeAreListening platform, originally launched in 2018 to help break down barriers for females in the dance music space and bridge gaps between record labels and the next generation of up-and-coming female talent.
View #WeAreListening’s event poster below and learn more about Toolroom Academy here
A SOPHIE-produced EP by Basside will be released next month.
Miami bass duo Que Linda and Caro Loka, AKA Basside, will drop their new EP ‘Fuck It Up’ next month, which has been produced by the late experimental pop visionary, SOPHIE.
After seeing the duo perform at Miami’s iii Points Festival in 2016, SOPHIE and Basside worked in the artist’s LA studio on six tracks, which have been fan favourites and were played in sets from SOPHIE, as well as by Charli XCX, Jimmy Edgar, and Machinedrum.
Following SOPHIE’s death in January this year, Basside, alongside New York imprint Sorry Records, shared ‘NYC2MIA (SOPHIE Remix)’ — a long time staple of the producer’s DJ sets to raise funds for the Sylvia Rivera Law Project; a collective organization that works to guarantee that all people are free to self-determine their gender identity and expression, regardless of income or race, and without facing harassment, discrimination, or violence. Basside and Sorry Records have raised over $650.00 for SRLP so far.
You can pre-order the EP via Bandcamp here, and listen to two of the singles below.
2021 is already shaping up to be a year of surprises, the latest of which comes in the form of entertainment guru Paris Hilton returning to the dance music space alongside the Electric Polar Bears for “Melting.” The Electric Polar Bears are no strangers to releasing captivating tunes; their hit “Back 2 You” has made rounds since it first dropped in February. Hilton, meanwhile, has been known to dabble in DJing and electronic music, but of late, has focused on other genres, as her last solo issue “Heartbeat,” released on Valentine’s Day, demonstrated.
“Melting” is optimized for dance floor spins and boasts elements of acid intertwined with a groovy rhythm and massive pulsating synths. Hilton’s vocals complement the production, and in the “Melting” music video, she can be seen lounging in a pool sipping champagne as her reality quickly gives way to distorted and colorful psychedelic influences.