Behringer has announced that their RD-9 Rhythm Designer – a new drum machine design, based on the classic Roland TR-909, is now shipping:
“RD-9 is now finally shipping. We’re sorry that it has taken much longer than we had anticipated but Covid plus the current global supply chain challenges didn’t make it easier.
Compared to the earlier version, the RD-9 has been completely redesigned with many new features added. We’re very proud of the RD-9 and can’t wait to hear all your feedback.
We also like to thank the many wonderful beta testers who helped us with valuable feature suggestions and to ensure the product is now in perfect shape.
Please be aware that it’ll take some time to fill the huge backorders we have on hand. Thank you for all your patience and support.”
The RD-9 was originally announced in 2017, as the RD-909 drum machine. We shared an early look at the drum machine in 2018, with a preview from Knobcon:
At that time, Behringer was still calling it the RD-909 and positioning it as more of a 909 clone.
In late 2018, company head Uli Behringerannounced that the RD-909 would be coming in early 2019, with a target price of $299. The company delayed the release multiple times, though, attributing the most recent delay to the MIDI problems that users encountered with the company’s RD-8 drum machine.
In January of this year, Behringer re-introduced the drum machine as the RD-9, and shared this official overview:
The Behringer RD-9 Drum Machine is clearly inspired by the Roland TR-909, but it updates the design with modern features like USB MIDI; incorporates some standard mods, like additional tuning parameters; and adds effects like the Wave Designer and a filter.
It also offers ‘Authentic’ and ‘Enhanced’ modes:
Specifications and other details are still to come at the Behringer site.
Note: While the company has announced that the RD-9 is shipping, it’s likely to take months to become widely available, because of backorders and current manufacturing limitations.
20 years after its initial release, M&S’ timeless house single “Salsoul Nugget (If You Wanna)” has been reanimated thanks to Toolroom luminary Mark Knight. The 2001 production is centered around a timeless funky rhythm full of disco flair thanks to featured artist The Girl Next Door. For his take on the track, Knight keeps the core groove in tact, updating the sound selection and arrangement for contemporary fans. In a press release, Knight shared his inspirations behind the remix:
“I remember hearing Bobby and Steve play Salsoul Nugget on Kiss back in 2001 just pre-Miami and the hype went into overdrive. It was played everywhere at WMC that year from clubs to pool party day and night it was on repeat, and the battle of the A&R’s began and rightfully so as this was THE record of the year. I fell in love with it! What an awesome fusion on Loletta Holloway and Double Exposure. Ricky and Fran nailed it. So when I got the call 20 years later asking if I wanted to remix it was an absolute no brainer, especially where my head’s at musically right now, it was the dream gig. Hopefully I have done justice to the original an which is a stone cold classic” – Mark Knight
Joining in on the action, UK local and favorite Mighty Mouse also got in on the action, providing his own remix of M&S’ classic as well. Similarly recognizing the undeniable groove in the original recording, Mighty Mouse also opts to keep the track largely in tact, adding details to modernize the single along the way, as he describes:
“As soon as I was asked to do the remix, I instantly had an idea. It’s not often classics like this come up but I knew immediately I wanted to take it in a more disco direction. So I started to see if I could find a way to chop up the sample slightly differently to the original and hold out on the main groove until after the main breakdown, teasing the main groove throughout the track. I wanted to bring out the chorus a bit more so added rhodes and synth lines to open it up more, then it all went a bit psychedelic in the breakdown which I felt added a slightly different dimension to it. And of courses it NEEDED a huge breakdown.” – Mighty Mouse
The remix builds on Mark Knight’s already blisteringly hot release schedule this year, including a house remix of Nathan Dawe and Little Mix’s “No Time For Tears” to start the year off. As Knight continues the rollout of his long-awaited debut album this year, expect his iconic house stylings to dominate the summer.
Following the announcement of their forthcoming freshman studio LP, Found in the Wild, alongside their fittingly titled album single, “Wild Skies,” Eli & Fur have delivered yet another resonating house conviction, “Come Back Around” via Anjunabeats.
Using their own spellbinding vocals on their latest outing, the duo tacks on an intricate and dynamic journey on “Come Back Around.” Beginning with an upbeat framework and a light atmospheric touch, “Come Back Around” quickly jumps into the pair’s classic deep-house soundscape.
Dividing their album into two halves—one part flowing and melodic, the second part polished with bumping, club-primed appeal—Eli & Fur seemingly found a way to hone two sides of their sonic coin into one full-bodied album. Working with precision and a fortitude to create an album that encompasses all the elements of the multi-faceted duo’s sound, Found in the Wild promises to be an enthralling collection of works, and could wind up being Eli & Fur’s most inviting body of work to date. Hear “Come Back Around” below.
In selector’s circles, Saeed Younan‘s name is one that commands due respect. The Iraqi-born DJ has built a world-class career as one of dance music’s most beloved producers over the course of more than two decades in the game. Younan knows its not all glitz and glamour though—he’s endured both prosperity and hardships, from fleeing a conflict-torn region, eventually landing in the U.S. in the early 80s, to rising through the dance music ranks well before EDM become a global, multi-billion dollar industry. Younan would eventually sharpen his chops behind the decks through the discovery of hip-hop, which would eventually give way to club culture, and thus, his introduction to house music. From there, the rest is history. Though now, after years on the scene, Younan has delivered his debut full-length debut artist album, Morph, with the intention of celebrating his narrative as both an artist, and a person. The record carries on the multicultural passage that has helped shaped Younan’s signature tribal, percussive sound, and, as Younan himself puts it, “You could say I have morphed from a wide-eyed DJ traveling the world to a seasoned musician with a story to tell.” Morph is that story.
In an interview with Dancing Astronaut, Saeed Younan discusses what inspired Morph, what it feels like breaking out his Deepart alias, some sage advice for upcoming artists, and how Younan has evolved as both a DJ and individual the last 18 months.
As a veteran DJ who’s seen the dance music space evolve over a lengthy career, what’s one thing you’d advise younger selectors with?
“I’d tell them to stick to your guns, hone your craft, don’t fall into or follow musical trends that don’t serve the real reason why you got into music in the first place. Most importantly, avoid chasing the flavor of the month.”
In that vein, regarding the events of 2020, what can you tell younger, less experienced DJs/producers about pacing and the importance of mental health?
“I’ve told many people, 2020 was a time for all of us to reflect and look inward, instead of outward. Stop and be thankful for what you’ve got. I myself took the time to do some inner engineering, dived deeper into meditation and breathwork. It helped me a great deal in coping with my anxiety related to lack of income and work. I also focused more on making music, creating new DJ edits, so that when the time comes, I’ve got my dancefloor weapons ready to bring the house down!”
‘Morph’ provides an eclectic array of electronic sounds with a genre-fluid flow. Tell us a about how the album reflects both where you are now, as well as where you started.
“My goal was to create an art album, something to showcase where I came from and where I’m heading as a music writer. You have tracks like ‘Tribal Heart Percussive Soul’ and ‘Church of Bass,’ which are the core ingredients of how I was brought up in dance music, namely tribal and hip-house. You also have other genres that inspired me, like the liquid drum ‘n’ bass track at the end of the album. Also, more playful, organic, musical elements sprinkled throughout the album. My other objective for this album was to show that I’m not just a one-trick-pony when it comes to writing and producing musical compositions.”
Tell us a about what inspired you to break out your Deepart alias for the new album?
“I’ve been producing and releasing music under ‘The Deepart Project’ for a few years now. I’ve always wanted to make music geared towards relaxation, meditation and yoga. Our lives have become so stressful, I feel that we need an outlet or an escape from our daily grind, to look inward. I was creating this music for myself at first, then a few yoga and meditation teachers convinced me to start releasing the music to help others. Starting The Deepart Project alias was a blessing in disguise. At the time, I didn’t realize how much I needed some ‘me time’ to slow down and focus until I started creating the music for myself, as a way to relax in the studio. I decided to include music from my alias into my album because it is a big part of my life now. This music grounds me in a certain way, mentally and physically. I wanted to share this with my fans who don’t necessarily know that I also make this type of music.”
What is one thing about this album you hope listeners take away from it?
“If you’ve been a fan of my work, this album will open new doors and experiences, not necessarily only for the dancefloor, where you’ve seen or heard me play. If you are a new fan to my work, this album will provide a blueprint of my entire musical catalog. You’ll truly get to know me musically on a personal level.”
How have you evolved in the last 18 months? Both as a professional DJ/producer, and on a more personal level, as a human being.
“The last 18 months have been eye-opening, to say the least. It’s been tough, but I have to give thanks for everything in my life right now. I launched a Patreon account during the pandemic to make up for some lost income. I am grateful to have some amazing fans who contributed to my Patreon and helped me keep the business afloat. I also launched a new series called Low Lit Division (LLD) under my label, Younan Music. The focus of LLD is on slow-burning organic house, and slower dance tracks usually under 119-BPM. During the pandemic I sharpened my DJ skills both on turntables and CDJs, also creating new DJ edits and tools to play out once things open back up. You can say I got my ammunition ready with some amazing music ready for my ‘Morph’ tour.”
As the country is rapidly emerging from the pandemic into a new, post-COVID-19 world, what is your mindset like?
“I’m definitely hopeful and optimistic that our music community comes out of this stronger than ever. I believe this pandemic helped clear out some of the riffraff who were in it for all the wrong reasons and only the purest at heart DJs stuck through. I also hope this pandemic was a wakeup call, that we need to make some changes in our lives for the good of the whole. We can’t keep living life the way we have been. Mother nature is giving us all the warning signs. We have to take these signs seriously and really make some uncomfortable changes in the coming years if we want to survive and thrive.”
LA-based yetep has delivered a towering collaboration with Squired and Danni Carra titled “Call It Quits”—all three of which are making their debut on Ophelia Records. The single follows the producer’s emotionally charged Broken EP released on Subsidia Records in February. “Call It Quits” carries forth an engaging blend of melodic bass and hard-hitting theatrical sonics.
“Call It Quits” combines the intense soundscapes of yetep and Squired as the pair circumvent traditional melodic bass tropes by bridging mid-tempo rhythms alongside Carra’s enveloping vocals. The trio have all previously collaborated on separate projects as their latest track “Call It Quits” takes a powerful step forward in expanding Ophelia’s well-rounded lineup of emerging dance artists. On the release, yetep stated,
“Squired and I wrote ‘Call It Quits’ two years ago. Funny enough, we were going to release the song as an instrumental, but we decided against it for about [a year and a half]. We ended up working with Danni and after hearing what she had done, it was clear that the song needed the vocal that you hear today. You definitely hear that melodic side that you’re familiar with my music, but I think it’s a great balance of trap you hear from Squired. I hope you guys enjoy the song as much as I do.”
Listen to “Call It Quits” by yetep, Squired, and Danni Carra in full below.
RÜFÜS DU SOL has continued their Rose Ave Radio series with a new guest mix from Paraleven, featuring the likes of Miyagi & Allies For Everyone, Booka Shade and Joe Killington, Jonas Saalbach, Monkey Safari, and more. Taking listeners on a melodic journey, the twelfth episode of “Rose Ave Radio” puts RÜFÜS DU SOL’s best foot forward as they dive into their mystical catalog. Including a variety of eclectic tracks and groovy tones for the second half of the show, Rose Ave Radio continues to consistently showcase some of the best mixes out there, and Paraleven extends the show’s upward trend.
RÜFÜS DU SOL will find themselves performing at this year’s Governor’s Ball and Outside Lands, with the band having announced their largest headlining show to date at the Banc of California Stadium in Los Angeles this November. Listen to the newest installment of Rose Ave Radio below.
John Summit returns to the dance floor with his new modernization of Parachute Youth‘s “Better Than This.” Released just in time for Memorial Day playlists, the new track continues to solidify Summit as one of Dancing Astronaut‘s Artists to Watch in 2021. The original “Better Than This” came by Parachute Youth back in 2012; the track effectively launching the Australian duo’s career. Now, John Summit has taken the track for his own unique spin nearly a decade later. Speaking on having Summit remix the song, Parachute Youth’s John Courtidis said,
“To see the song that started my music career come out again after its first release a decade ago, is truly exciting and can’t wait to see where it goes a second time around!”
Parachute Youth’s Mat KVon also spoke on Summit’s remix of the track, adding,
“This track means just as much to Johnny and I as the day it was first played on triple j here in Oz, ‘Can’t Get Better Than This’ and subsequent releases gave us a touring career and fans worldwide who still message us to this day.”
Summit has been tearing through 2021, releasing his highly-anticipated single “Make Me Feel” in March, as well as his single “Beauty Sleep” back in January. In February, he released a rework of Gorgon City’s “You’ve Done Enough.” Summit will be making his return to the stage this Labor Day Weekend for Chicago’s North Coast Music Festival.
The three-headed Dutch superteam known as Drove have made their return to STMPD RCRDS. After Jelmer ten Hoeve (one-half of TV Noise), Eli Salomons, and Teun Wouters set the stage for their newest sonic enterprise in January on a precursory six-track EP, Dusk, Drove are now fast-forwarding to the early hours of the morning to lead in the EP’s counterpart, Dawn, with its maiden single, “Peace Of Mind.”
“Peace Of Mind” feeds out exactly what its title suggests, with Drove continuing their pursuit of the sedative and bracing sound that they ushered in through their freshman course. Drove embrace the fact that there’s simply no line drawn on just how all-encompassing STMPD RCRDS’ release log can be, proctoring more new material through their cleanly produced lane of house music that’s ripening just as the summer cycle inches closer.
Armin van Buuren celebrated Memorial Day Weekend with his new “A State of Trance 2021″ mix, also adding to the output with a brand new single, “Battlefield.” Including sweet melodies and vibrant tones, “A State of Trance 2021” highlights all of van Buuren’s fan favorites. Featured toward the end of the first half of this year’s “A State of Trance” mix is van Buuren’s latest single, “Battlefield.”
Incorporating van Buuren’s signature sounds, accentuated by belting vocals, the single sees the Armanda co-founder return with his third single for the month of May. “Battlefield” follows the singles “Tell Me Why” featuring Sarah Reeves and a collaboration with Tom Staar, “Let Go,” which featured Josha Daniel. Armin van Buuren will also be performing at Tomorrowland‘s virtual festival, Tomorrowland Around the World, this upcoming July.
Waking up with LateNightTales seems like a bit of a paradox, but the series’ latest edition from New Zealand’s Jordan Rakei hits all the right spots, regardless of being spun in the AM or PM.
Like many great artists before him, Jordan Rakei’s contribution to LateNightTales doesn’t focus as much on his mixing ability as it does his expansive and colorful tastes. Clocking in at just over an hour’s length, the mix leads listeners through Rakei’s personalized collage of sound, touching on deep soul cuts, uplifting harmonies, and tempered downtempo grooves. Commenting on the release, Rakei says,
“I wanted to try and showcase as many people as I knew on this mix,” says Rakei. “My idea of LateNightTales was to distil a series of relaxing moments; the whole conceptual sonic of relaxation.”
Rakei’s mix is the first to celebrate LateNightTales’ storied 20-year anniversary, joining a list of iconic contributors including Four Tet, Air, MGMT, and Bonobo. Stream Rakei’s soothing mix in full below, and peruse the series’ extensive catalog here.
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