Said The Sky has officially green lit the next chapter in his career. After announcing his addition to the 12Tone Music roster—similar to Illenium’s movements ahead of Fallen Embers—Said The Sky is signaling towards an incoming Wide-Eyed follow up, reuniting with Olivver the Kid once more on “We Know Who We Are,” following their World Suicide Prevention Day collaboration as well as their Dab the Sky union, “Hero.”
Staying true to character, this new output features a euphoric lead and heartwarming vocals that ultimately culminate in a melodic future-bass excursion. Strong drums and crisp kicks drive the chorus, guiding fans through an emotional roller coaster that is so representative of the artists’ unrestrained and impassioned sounds. Keeping this one close to their chest, fans have long awaited the release of this track, and now it is available to stream in full. Sink into all the feels with “We Know Who We Are” below.
Over the past year, San Holo has gifted fans with a collection of soul-stirring singles amid the rollout of his upcoming June 4 sophomore LP, bb u ok?. Today, the multifaceted producer brings us “you’ve changed, i’ve changed,” in tandem with Chet Porter. This is Porter’s first official release since his 2020 Alison Wonderland collaboration, “Bummed.”
The collaborative new cut, “you’ve changed, i’ve changed” offers a moment of depth and clarity, infused with an emotional rawness that is impressively articulated by both producers on the track. Following San Holo’s string of five pre-album singles, this latest track encourages a range of emotive responses, leading off with a bursting guitar progression from the pair, followed by a mellow yet sincere vocal endeavor from Porter himself. Reminiscent of the works of mid-2000s indie bands, such as Tokyo Police Club, San Holo and Chet Porter manage to conjure up the same vocal propriety, unfiltered lyricism, and catchy guitar riffs that have consistently pulled the listener in.
Stream “you’ve changed, i’ve changed” below and stay tuned for the full 20-track album bb u ok? June 4.
Two of Sable Valley’s finest in Juelz and JAWNS have reconvened on RL Grime‘s label for a new collaboration. Fused with heavy trap tones and reverberating bass, “Enter The World” revels in Juelz and Jawns’ return to the signature trap imprint.
Teased ahead of its release via Sable Valley’s social media channels, the track sees Juelz and JAWNS challenging one another to reach their full potential. Fit with edgy instrumentals ideal for the action sequence in a big budget summer blockbuster, “Enter The World” leads listeners into a gritty new realm. Juelz and JAWNS have been notable representatives of Sable Valley’s roster, and with collaborative cuts like this, it is easy to see why.
Just one year after Duke Dumont released his debut album, Duality, the veteran British DJ has returned fully equipped with a piping hot two-track EP titled For Club Play Only, Pt. 7. The club-ready extended play features two tracks “Alter Ego” with Channel Tres, and “Let Me Dance” with Kid Enigma, both of which are keen nightclub soundtrackers, landing at the perfect time as dancefloors across the world begin to slowly open back up.
Beginning the series back in 2012, For Club Play Only, Pt. 7, continues to exemplify the Grammy-nominated producer’s knack for reviving the UK underground house sound of the 90s. The two-track EP features a pair of riveting atmospheres, vogue ad libs, and an incandescent of flourishing piano melodies and acidic basslines. With its unmistakable energy and nostalgic production, the seventh installment For Club Play Only comes primed and ready for the return of sorely missed club nights. Stream For Club Play Only, Pt. 7 below.
MK wastes no time sinking the listener into his groovy new single titled “Chemical.” The track is a unique addition to the producer’s sprawling catalog, and its infectious energy easily engulfs the listener in bouncy notes, a pulsing house beat, and smooth vocals. A sure to be dancefloor favorite, “Chemical” packs a swelling dose of commercial appeal, wrapped up in MK’s signature club-ready style.
“Chemical” follows MK’s recent Pleasure State revival, delivering a new two-track EP alongside Anabel Englund and Lee Foss in April. Furthermore, MK is coming off of one of his busiest stretches to date, with the Detroit-born selector notching more than 10 new remixes in 2020. “Chemical” is out now via Area10/Big On Blue Entertainment.
If you have almost any moderately recent Apple device, here’s one you don’t want to miss. Moog’s full line of apps is free in celebration of Bob Moog’s birthday on Sunday.
And I do mean almost anything. The Filtatron app that started it all goes all the way back to iOS 9.0 iPhone/iPad touch. And that doesn’t mean these have collected dust – Filtatron for instance has the latest Audiobus library and supports Ableton Link for synchronized jamming, meaning you could even use it to break out a bit on some track when you’re feeling stuck on your computer.
(Double-check, too. I realized I had Animoog for iPad but never grabbed the iPhone version, so I’m looking forward to checking it out.)
Mac users can also check out the Model 15 if you’ve got an M1 Mac or an Intel Mac running Big Sur. It’s not really comparable to the experience on the iPad, but it’s usable enough to have fun with – and if you do have an iPad or iPhone, it makes it really nice to integrate patches you made on the go. (See story below.)
In-app purchases are still paid, but you don’t really need them with any of these – they’re just for added sound content, basically.
Need more inspiration? Here’s none other than Suzanne Ciani playing the Model 15 iPad app, even if that makes all the rest of us chant we’re not worthy.
I love that the Animoog is really not an emulation of anything else, and has taken its place among the great synths that bear the name Moog. Here it is in a beautiful Buchla+iPad+Moog combo:
Model 15 is really my favorite out of these – a complete modular environment that also teaches you modular synthesis. But the Model D sounds great. And Animoog has long had a special place in synthesists’ hearts as a distinctive standalone instrument made natively for touch.
Tom at Synth Anatomy was on this quicker than me (as usual) and has some other nice reflections helping you navigate this catalog:
Moog haven’t said yet how long this lasts, so go grab it. And then kick back and celebrate Bob’s birthday on Sunday, and yourself, you synthesist, you!
When the vibe changes, more often than not, it’s the ones we love the most who are on the receiving end of regrettable words and actions. Built on sweet vulnerability and enhanced by delicate R&B notes, “Told You” is Jon Vinyl‘s transparent ask for amends in the midst of a battle.
A sweeping power ballad, Vinyl asks his lover to shift the perspective from a “me vs. you” issue to an “us vs. the problem” situation. The video for “Told You”, directed by Alimzhan Sabir, sees Vinyl and his significant other rekindling joy and communication in a relationship, reveling in the little things that made them love each other in the first place. Crafted with the kind of thoughtfulness that can only come from a repentant heart, “Told You” demonstrates Vinyl’s superb ability to express both vulnerability and versatility in his songwriting.
The single is Vinyl’s first release for 2021 and serves as the lead single off his upcoming EP, due for later this year.
We knew Reason 12 would finally solve high-resolution support – now we get a glimpse of what else is coming, and when.
Reason Studios promised it would offer new functionality via subscription with Reason+. But those of you who prefer pay-to-own licenses and upgrades, so far that’s still available with Reason 12.
The big news – not just high resolution support and greater UI scalability, but also a new sample manipulation device, an overhauled Combinator with new customization for panels, and an improved Browser.
For those of you who do opt into the subscription path, the difference is that features roll out sooner. I’ve certainly heard music developers promise that – see also iZotope – but here’s a chance to see it in action with a popular program. At least so far, that means there’s some added incentive for going subscription, in getting things gradually rather than lumped into omnibus subscriptions. (My only real bugaboo is software constantly needing to take time to load and check licensing online, because I don’t particularly want to see status bars when I want to make music – will follow up on exactly what circumstances trigger that and if they can make it faster and more reliable.)
Anyway, for now – either way, subscription (Reason+) or conventional Reason license, you’ll eventually wind up with the same feature set by fall as a landmark roughly called Reason 12.
And so onto what’s in it:
Release date (for everything) 1 September 2021
High-resolution scalable graphics. We talked about this already, but the key is – yes, this not only means high-resolution display support, but also enhanced UI scaling, so it should improve viewing the UI for pretty much everybody. And it works out-of-the-box with every Rack Extension ever made, because RE developers had to include the higher-res assets with submissions from the start. Overdue, but welcome.
A new sampler. They’re holding their cards close to the deck for now, but they say it’s designed to make it easy to work from any source (your sound library, something recorded on the fly, or a track in your session), works with existing time stretch, and uses “brand new ways to play your samples.” New as in … dunno, AI machine learning-augmented granular synthesis in VR? Guess we’ll find out.
A streamlined Browser. This one is also beyond overdue – all the pieces are there, but maybe this will become more easily usable.
New Combinator. This one they’re being clearer on, and already it sounds promising. The Combinator is just about the most-used part of Reason, but it’s showing its age, and it’s pretty rigid and hard to discover for newcomers. What they’re promising in words, at least, is something far more customizable, with:
More CV inputs
Customizable interfaces with custom layout, macro controls, panel size, and custom images
It’s clear this is partly there to support new Packs – which is part of the Reason+ pitch – but frankly I’m excited to see that it appears to be intended to be friendly to end user customization, too. This isn’t easy even in tools like Ableton Live without digging into Max for Live, which sometimes is overkill if you want to make just an easy macro for yourself.
I am still curious, though, how they’ll support third party content creators when Reason+ is already providing subscription content, and if that will kill the ecosystem for content creators and Rack Extention makers outside of Reason Studios. (That question is an open one for other industry makers, too.)
But will the Combinator changers be useful to hard-core Reason users? Well, since they’ve been asking for it forever – even Reason Studios says here it’s one of the most-heard feature requests – I’ll put that down as a yes.
Impossible to judge without seeing this, so stay tuned.
I do hope this also makes the workflow between Reason and the Reason Rack Plugin easier. (Also, full VST3 support everywhere rather than just one and the other?) No details on that yet. You know I’ll be asking.
I’m ready to do a little more Reason patching this summer, though, especially with some track deadlines coming up. So see you in the Rack.
When Illenium prefaced that his three-album trilogy event was going to be something no one has ever done before, it set expectations through the roof, and he was dead serious. For the final time before Fallen Embers arrives on July 16, Illenium will be playing out Ashes, Awake, and Ascend in succession for a one-night-only event on July 3 at Las Vegas’ newly constructed Allegiant Stadium.
The trilogy show will feature three consecutive album sets in an entirely “new experience.” The idea had originally come about in early 2020 when Illenium confirmed a three-evening mini-festival was planned for Red Rocks, but the plan was unfortunately scrapped due to the pandemic. The trilogy date will only add onto Illenium’s colossal fall slate for his album, with a two-night Red Rocks show in October and Cancun-based destination festival, Ember Shores, in December.
Pre-sale tickets for Illenium’s trilogy event will be available here on May 24 at 10 AM PST.
TRILOGY – my biggest show ever – will take place 7/3 at Allegiant Stadium in Las Vegas (home of the Raiders)! 3 sets, 1 night. I’m beyond excited to present Ashes, Awake, and Ascend as a new experience
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