Korg today announced that its MS-20 FS (full-size) Monophonic Synthesizer is now available, pre-assembled, in four colors.
The MS-20 is a 37-key classic analog monosynth, with patch bay and external signal processor, originally released in 1978. The MS-20 FS reissues the original with some new features, including MIDI IN and USB.
The MS-20 FS was previously available in 2014 in small numbers as a kit. This full-size reissue consists of limited numbers of the four different powder-coated color variations (green, white, blue, black).
Korg describes the reissue as a “genuine MS-20 made by KORG, faithful to the original in every way.”
Full-sized 37-note (3-octave) MS-20 keyboard made by KORG
Four different color variations in a powder-coated finish (green, white, blue, black)
Provides two types of MS-20 filter: early model and late model
Faithfully reproduces the analog circuitry of the original
2VCO / 2VCA / 2VCF / 2EG / 1LFO structure
External Signal Processor (ESP) to process an external signal
Patching system provides an extremely high degree of sound creation
MIDI IN connector and USB port for keyboard and DAW MIDI connectivity
The original is reproduced in every detail, including the package finish, owner’s manual and settings chart
Pricing and Availability
All four KORG MS-20 FS models are now available with U.S. MAP pricing of $1399.99.
Always vulnerable and open to his listeners, bloody white seems to strike a delicate balance between regret and hopefulness. Based in Santa Barbara, the rising artist has been on a roll since releasing his debut EP you’d walk right over me in September. Rapidly releasing singles and remixes since his lauded first EP has allowed bloody white to steadily farm a cult-like following existing somewhere in the space between emo-pop, indie, and dashes of electronica. “throwing leaves, casting stones” continues this run of singles with a bashful and inspired piece of alternative pop that overflows with heart and energy.
Bright and dewy synth stabs paired with light, glittering chimes gives the track an early morning bleary-eyed state that steadily morphs and evolves throughout the track. It reaches an alternative fever pitch with a heavy-handed, bass-heavy chorus that gives an edge to a track that doesn’t show its hand too early. The ability to make free-flowing indie pop with a razor’s edge is a developed and well-documented knack of bloody white with many tracks that toe the line between the fiery and the obscure.
Already with a bevy of songs that highlight the duality of the Santa Barbara artist, “throwing leaves, casting stones” is no different as it oscillates between emotions quicker than the blink of an eye. In further growing from here, bloody white looks to build upon his frenzied single run and continue the rapid expansion of his fanbase by consistently delivering quality content in impressive quantity.
Surpassing the predecessor was never going to be a downhill sprint, although there wasn’t a reason to question the telling capacity of Dancing Astronaut‘s 2021 Artist to Watch and one of dance music’s most-renowned songstresses to do just that. “Here Right Now” steamrolls through the checklist of what materializes in a melodic dubstep diamond, with Nurko’s routinely farsighted craft tied to Santucci’s unreserved vocals, drawing hope for a collaborative trilogy.
Someone sucked Bochum, Duisburg, and Dortmund into a digital realm full of VR air pollution visualization – and in the debut album, Ljubljana’s Olenc deconstructs cello strings with the precision of an electron microscope. Journey inside.
Perhaps the recent revelation of our modern dystopia is its false dream of mobility, and the microscopic fracture of its freedoms. But take it how you will, it is mesmerizing going this deep on Oskar-Hoffman Strasse. (Honestly, German towns have never looked this cool.) That’s the vision of Olenc’s Berlin-based collaborator Michael Saup in the companion video for Nature Scene Records. Watch; I’ve had it on repeat:
“Dust” is a composition for the VR multimedia project Dust – ‘VR Triptych’ by visual artist Michael Saup and Olenc. The installation uses virtual reality to represent and investigate the invisible sphere of urban particulate matter. It gives representation to the recent developments of open data and citizen science and chips away at popular incognizance of just how much dust, and now data may impact our private lives.
So that dust isn’t only conceptual (and granular synthesis) – it’s also a visualization of particulate matter. If you’re concerned about a certain virus as a global pandemic that kills millions, keeping an eye on PM is equally important and does the same. These unseen particles are associated with the same energy applications that contribute to global warming – and many readers are now inhaling them if you breathe deep, as they penetrate your lungs and cause major health problems, many of them fatal. But don’t despair just yet – the power of music and visuals is that they can help the perception of the invisible and make it relatable emotionally as well as intellectually, meaning this sort of project is exactly the sort we need.
The music, in haunting sweeps of sound both brittle and lush, takes on extended granular explorations of strings. There are tracks assembled from VR collaboration with Saup (on Dust), and theater performance (with Jana Menger and Bara Kolenc). And even without those works there, the music has a vividly programmatic quality – a mind trip into timbre, pulled taut to near breaking-point.
As they put it in the release:
Focusing on decomposition and the granulation of singular strings of cello, all tracks are conceptually constructed by zooming into the musical/sound matter. Particles gives a macro-microcosmic sonic journey, full of tensions, contrasts and fragility; it constantly crosses a thin line between songform and sound sculpture, experimenting with spatial imaging, spectral processing and time manipulation.
Olenc is an alias for Matevž Kolenc, based in Ljubljana, Slovenia. But while that may not be a known name, he has quietly been working not only with theater, dance, film, and installation materials, but also writing for bands like Laibach, Kreda and Melodrom.
Michael Saup is multi-talented, as well, working as an artist, instrumentalist, filmmaker, and coder, lecturing on topics around sustainability and “the archaeology of the future.” Saup is devoted enough to that topic that even the Website you’d go to read about all of this is optimized to reduce carbon emissions.
Nature Scene Records has all wonderful stuff, worth a dig – and I honestly hadn’t heard of them until I got this release. Well worth some time, a nice UK – Slovenia connection (also with Alistair McNeill, who sent this in, and the likes of Aloosh and Yila):
In a March 30 open letter, prominent singer-songwriters Emily Warren, Justin Tranter, and Ross Golan pledged that they will no longer provide publishing or songwriting credit to artists or other individuals who did not contribute to a song’s writing process. The authors of the letter, who identify as “The Pact,” specifically pledged not to extend publishing and songwriting credit to those who “did not create or change the lyric or melody or otherwise contribute to the composition without a reasonably equivalent/meaningful exchange for all the writers on the song.”
The effort is said to be led in large part by Warren. In the time since its virtual dissemination on March 30, the letter has attracted signatures from some of the industry’s most influential songwriters including Victoria Monet, among many others. The Pact’s movement comes at a pivotal time when many songwriters are collectively working toward a paradigm shift in the music industry, seeking to be viewed with the same significance as the artist who will be vocalizing or otherwise performing the song that they wrote.
Dancing Astronaut‘s March SupernovaJonathan Mendelsohn spoke to some of the unjust practices that singer-songwriters face in today’s industry in a recent interview. Mendelsohn stated, “In EDM, the DJ/producer is king and there have been times where I had to fight for the recognition and terms I felt I deserved. I’m wise enough to not work with artists like that as a rule and instead gravitate towards the people I feel a sense of loyalty from and [who] make me feel like part of the team.”
The Pact can be found on Instagram. Their collaborative letter, along with other information on their mission to bring greater equivalence to songwriters, is available here. The letter can also be read in full below.
“To whom it may concern:
The beauty of the music industry is that it operates at its best as an ecosystem. Behind most songs, there is a story of collaboration. By the time of release, a song has been touched not just by the artist, but by songwriters, producers, mixers, engineers, record labels, publishers, managers and more.
Over the last few years, there has been a growing number of artists that are demanding publishing on songs they did not write. These artists will go on to collect revenue from touring, merchandise, brand partnerships, and many other revenue streams, while the songwriters have only their publishing revenue as a means of income. This demand for publishing is often able to happen because the artist and/or their representation abuse leverage, use bully tactics and threats, and prey upon writers who may choose to give up some of their assets rather than lose the opportunity completely. Over time, this practice of artists taking publishing has become normalized; and until now, there has been no real unity within the songwriting community to fight back.
That is why we have decided to join together, in support of each other, and make a change. What we are saying is this:
This body of songwriters will not give publishing or songwriting credit to anyone who did not create or change the lyric or melody or otherwise contribute to the composition without a reasonably equivalent/meaningful exchange for all the writers on the song.
To be clear, this action is being taken for two main purposes. First and foremost, we hope that this action will protect the future ‘us,’ the next generation of songwriters – those who believe they have no leverage and no choice but to give up something that is rightly theirs. The second purpose is to shift the rhetoric and perspective surrounding the role of a songwriter. As songwriters, we are fully aware of the importance of the artist who goes on to perform and promote the songs we write, the role of the producer who takes the song to the finish line, and the role of the label that finances the project and plans for strategy and promotion. In light of that, we are not suggesting we dip into those revenue streams, we are not asking for something we don’t deserve. We are simply asking for that respect in return. We are simply asking that the ecosystem stay in balance; we are simply asking that we not be put in positions where we are forced to give up all we have in exchange for nothing; we are simply asking that we give credit where credit is due and only take credit where credit is earned.
If we take the song out of the music industry, there is no music industry. As of today, we will no longer accept being treated like we are at the bottom of the totem pole, or be bullied into thinking that we should be making sacrifices to sit at the table. We are all in this together, and we all need each other for this wheel to keep turning. So let’s start acting like it.”
Tritonal will be taking their production skills in a new direction with their studio album, Reverence. Representing a complete departure from the duo’s typical high-energy progressive sound, the LP is inspired by the art of meditation, as well as artists such as Brian Eno, Nils Frahm, and Ólafur Arnalds.
Tritonal members Chad Cisneros and David Reed will draw upon their deeply spiritual journeys for the production. The concept for the album is born from a desire to create a space for mindfulness and contemplation in these unprecedented times.
Furthering Reverence‘s uniqueness in the context of Tritonal’s release history is its format: this is the first album the duo have ever conceived as one unified piece of music with no breaks between the audio tracks. Tritonal decided early on that if their computers could support this extended structure, they would write the entire album in one Logic X Pro project. This vision succeeded, allowing them to write an hour of music consisting of more than 417 audio tracks in one single project. The album will be split into 14 tracks with no fades or separation, allowing the music to be enjoyed as intended—a seamless body of work.
Cisneros discussed the genesis of the project in an official release, explaining,
“I suppose we begin in early March of 2020. We were forced to announce the cancellation of a long-awaited return to Ultra Music Festival along with every show on our upcoming Long Way Home Tour, which ended up never leaving home. Looking back, it’s so funny to think how we thought ‘oh this will be over by early summer and we’ll just reschedule.’ By the middle of summer, like so many of you around the planet, we were grieving. We were grieving the loss of our brothers and sisters, we were grieving the divisiveness of the political climate, we were grieving the loss of the ability to do what we love doing so much—play music.”
“Fortunately, both Dave and I were surrounded by our loving families and had one another to talk with daily, we had the support of our beautiful wives and children, we had music, and we had our own personal relationships with the Divine. We realized that although this was a crisis on one level, it also presented a huge opportunity. It gave us an opening to reflect, to contemplate, to meditate, to rest deeply, and to ask ourselves some tough personal questions like ‘Who Am I?’ ‘What is our role in the universe?’ ‘What do we mean to the dance community?’ ‘What do we stand for?’ We both instinctively knew that we wanted to grow interpersonally, spiritually, and musically. From this seed of a desire to grow, Reverence was born.”
Cisneros added that he and Reed worked with longtime friend and University of Texas music professor Nick Sibicky, who brought an entirely different dimension to the music through orchestral composition.
Apashe has shared an action-packed music video for “Lord & Master,” taken from his sophomore album Renaissance. The audiovisual accompaniment, directed by Apashe’s longtime friend and frequent collaborator Adrian Villagomez, features young dance starlet, Brontë Poire-Prest. Breaking down the theatrical performance behind the “Lord & Master” music video, the Montreal-based producer said in a press release,
“This is the story of a young and innocent prodigious dancer, on the cusp of becoming a star. During the rehearsal of her first big public appearance, she abruptly realizes that what was meant to be a beautifully orchestrated performance was in fact just a huge money-making production that prioritized profit over art – without much care for the young star and thus shattering the whole vision she naively had of an industry she had once dreamed of becoming part of. She then decides to fight against it, hoping to make a difference in a world where art is a product controlled by immense inhuman forces.”
“Lord & Master” effectively juxtaposes modern electronic music with renaissance-era orchestral elements while the music video candidly depicts the hidden agendas that major business corporations might hold when it comes to art expression. Apashe continues to reap success with Renaissance, amassing a record-breaking 40 million streams and following the LP with a 28-track remix album in February.
Tropical house producer Teddy Beats claims to be “too poppy for EDM but too EDM for pop,” and the Washington, DC-based talent can be found pleading this case once again with “Flowers.” Distributed by Diepgraven Records, the single features London-based singer-songwriter Jacob Browne. Browne delivers a beaming topline above a simple acoustic guitar progression, exhibiting his dynamic vocal range with each catchy hook. The folk-inspired singer instantly captivates listeners with his unique tone that floats over Teddy’s tropical percussion.
“Flowers” is Teddy’s third collaborative single of 2021. The production style is more organic than your average tropical house tune, which is what makes the “Hold Me” producer stand out from the pack. Discovered by Kygo, Teddy Beats has been on the uptrend in the past couple of years. He’s accumulated more than 10 million Spotify streams with features on renowned playlists including “Chill Tracks” and “Heart Beats.”
Stream “Flowers” below, and keep an eye out for a big summer from the DC talent.
With the release of their latest album, Is 4 Lovers, Death From Above 1979 treat listeners to a seamless blend of electronic music and punk rock. From punk-based sounds filled with rapid guitars and angsty high energy to more electronic sounds that urge listeners to dance, Is 4 Lovers highlights how various genres can be mixed together in order to create a unique sound.
“One + One” had been inspired by Sebastien Grainger’s wife’s pregnancy, and acts as the karmic sequel to the band’s 2004 track, “Romantic Rights.” “NYC Power Elite Part I” pokes at wealthy New Yorkers, highlighting those who pose as starving artists while affording “helicopter brunches.”
Certain tracks, such as “Glass Homes,” have more of a focus on the band’s electronic sounds, while tracks like “Mean Streets” bring a harder punk edge. Stream Is 4 Lovers in its genre-fluent full form below.
World Famous Tour is the crowning achievement of the trio’s carefully crafted productions brought forth in unparalleled fashion. The LP potently experiments with the future bass, pop, trap, ambient, drum’n’ bass, and dubstep genres while implementing a sample-based approach, sampling singers Eartha Kitt, Hundred Waters, and more.