There’s a reason why Pryda Presents is regarded as the breeding grounds for some of the most enduring, masterful sounds in all of dance music. One of the moments that grabbed ears during Cristoph’sBBC Radio 1 Essential Mix in January was the introduction of a forthcoming Yotto linkage, and Yotto quickly reaffirmed the warranted excitement for its delivery during his “A Very Cold DJ Set,” filmed from the depths of a Finnish forest. Everyone was left petitioning for a further update until the end of May when the two dropped the announcement that “Out Of Reach” alongside Sansa would finally be out just a few days later, arriving on none other than Eric Prydz’s legendary Pryda Presents imprint.
Cristoph and Yotto are a pair of house music’s premier names, and it’s openly apparent on “Out Of Reach.” When Eric Prydz queued the track up for a Miami audience in the midst of his Secret Project showing for III Points, the crowd’s reaction was all that was needed to validate the track’s undoubtable brilliance. Splicing together the necessary climate for a darkened warehouse setting with a bone-chilling breakdown filled with Sansa’s rousing vocals, Cristoph and Yotto are a match made in house paradise and could’ve only found a fit for their tectonic crossover on Pryda Presents.
Hitting streaming services nearly 12 years after his debut LP, Dance Baby, Solomun’s sophomore album is finally here, wearing its message right on its sleeve—Nobody Is Not Loved. Hinging the album’s core purpose on music’s inherent ability to connect people, the 12-track LP captures a deep and thought-provoking essence for listeners. Elucidating the album’s inspiration, Solomun shared, “The album title ‘Nobody Is Not Loved’ speaks to the idea that music loves everyone.”
Beginning with “Ocean,” an unexpected yet enthralling collaboration with Jamie Foxx, the album lifts off with a soft and dynamic melody surrounding Foxx’s velvet vocal styling. Driving forward with energy and spirit, Solomun weaves through subtle yet intricate works like “The Center Will Not Fold” and the ÄTNA-assisted collaboration “Tuk Tuk.” “Never Sleep Again” marks the album’s turning point, placing a divide between vibrant outputs into more fluid and somber excursions. Closing out the long-awaited album with an orchestral accompaniment to Tom Smith’s solemn and robotic vocals on “Night Travels.” Over the album’s 12-track duration, it is abundantly clear that good things come to those who wait, and for those that held on for Solomun’s sophomore outing, the final product proved to be one well worth the wait.
As excitement builds for the return of live music events across the country, Wu-Tang Clan has slapped an even wider grin on concert-goers faces with their grand return at Red Rocks Amphitheater. The world-renowned venue finally opened its’ doors back in April to less than 50% capacity. Starting June 21, the Rocks will return to full capacity and two months later, on August 13, it will welcome in the famed New York City rap deities to the stage.
The highly anticipated show will feature reimagined versions of Wu-Tang’s most iconic songs from Colorado Symphony Orchestra. If that weren’t enough to sell out the venue, joining Wu-Tang Clan will be Outkast‘s Big Boi as well as Colorado turntablist extraordinaire DJ Chris Karns.
Grab your tickets to this unique concert experience here.
Njomza has just dropped her second album single, “over and done,” from her forthcoming June 18 LP, LIMBO, and she’s enlisted some pretty talented friends to help her. Among those enlisted for new record are Skrillex, Olu Fann of EARTHGANG, award winning producer Tommy Brown, and more. Now, ahead of her sophomore album, Njomza and Skrillex are putting another collaboration in the books, recalling back to their first release together at the height of OWSLA’s reign in 2016 on “Pretty Bye Bye.”
The new collaboration, “over and done” encompasses contemporary pop tropes with a strong bassline, head-bobbing beat, and not to mention Njomza’s particularly powerful vocal dynamics. The track painfully captures the heart-wrenching feeling of uncertainty and loneliness, visually represented in the music video with Njomza sitting solo on a couch riding around Los Angeles. Recognized for her songwriting chops on Ariana Grande’s Grammy-nominated thank u, next, Njomza’s writing abilities have only deepened with her latest releases, and “over and done” is just another notch in the German-born talent’s belt. Watch below.
Black Corporation, makers of Deckard’s Dream and Kijimi, continue their run of ultra-luxe polysynths. Now the sought-after Jupiter-8 is in their sights, with some 2021 twists.
Meet ISE-NIN, with eight all-analog voices, teased today and with preorders starting this week. (No pricing information yet, but I expect this will be at the high end of their price sheet.)
And yeah – it is basically a Roland Jupiter-8. The Japanese maker has so far shied away from doing a full eight-voice Jupiter, even a digital recreation. You get either the 4-voice digital JP08 – although it is a cute reduction of the original – or the Jupiter-X which is really more like a current Roland digital workstation with a Jupiter-ish layout, sorta.
Have a look:
So it means the closest you’ll get to a 2021 Jupiter-8 is actually looking like the Black Corporation offering – and it’s a beautiful combination of post-Soviet engineering (chips from Latvia, for one) and Tokyo-to-LA style.
They don’t copy the mammoth size of the Jupiter (which weirdly is the one thing the Jupiter-X did get right, and sort of the thing you don’t want). Instead, you get a faithful layout in a compact size, and two great extras:
One, full MPE (multiphonic expression) support, which means being able to take full advantage of the 8-voice architecture in a way you can’t even with the original. That’s perfect for pairing with MPE-capable sequencers, controllers, eight fingers, or … an octopus.
Two, they promise complete microtuning support in the form of the new ODDSound MTS-ESP format, which makes it easy to get hardware and software in tune with one another. So grab this, and brush up on your maqams, folks. (I said I wouldn’t use the word microtuning, but I keep stumbling over “alternative tunings” and other wordings.)
And you can see some hints at that added functionality in the MASTER section, which includes some of the master controls from the original Roland but also a window into whatever digital brain they’ve added.
Like I said, let’s wait on pricing. But at least some of Black’s stuff is available on a budget. Deckard’s Dream, the gorgeous Yamaha CS-80-inspired instrument, runs just over a grand – US$999 if you’re ambitious and get the kit. And the very capable Deckard’s Voice is a complete semi-modular voice for Eurorack, ideal for a small skiff, at US$699. You can even get the mighty Kijimi for US$999 in kit form.
So Black have clearly staked out some solid choices in polysynth territory. We’ll have to watch for this one.
Sinevibes has released Eternal 2, a major update to their ‘barber-pole’ flanger plugin for macOS.
Unlike a traditional flanger, which has its tone repeatedly go up and down, a barber-pole flanger goes upwards or downwards in a seemingly infinite fashion.
To do this, Eternal uses a calibrated low-frequency oscillator with six output signals, which modulate and crossfade three flangers in a very special way. Since these oscillators have a “through-zero phase” design, Eternal can go from downwards to upwards motion and back completely seamlessly.
With two distinct timbres available thanks to positive or negative feedback, Eternal can create a wide variety of flanging, chorus, pitch shift and stereo widening effects.
Here’s what’s new in Eternal 2:
Newly designed user interface, with size scaling up to 200%
Added VST3 plugin format
Added built-in preset manager
Support for any buffer size requested by the plugin host
Consistent name, mapping, value, and unit implemented for all parameters in both graphic user interface and host control/automation
Doubled maximum flanger effect range from 3 ms to 6 ms
Increased Frequency control range and corrected the display of the actual effective value in Hz
Increased Feedback control range to -100..+100%
More thorough state initialization when receiving the reset() call from the host
More natural parameter mapping on Frequency, Stereo, Output controls
Added all-new presets + reworked collection of all old presets
Audiomodern has introduced Chordjam, a new application for iPad, macOS & Windows that’s designed to be a real-time compositional and performance tool.
Chordjam is designed to chords and progression patterns through intuitive user-guided randomization. It automatically randomizes a unique combination of parameters, serving up unpredictable but musical variations.
Here’s an overview of how it works:
Generate Random Chords
Trigger New Chords with Every Note Played
Unique Voicing Parameters
Intelligent Sequencer Engine
Chord Progression & Pattern Presets
Generate Infinite Chord Patterns & Progressions
Everything is Synced to your Host tempo
Drag MIDI Chord
Drag MIDI pattern
Pads Section for Musical Performance
Quick Load preset Section
Choose Quantization settings
Suffle & Shift Mode
Advanced Infinity Mode
Set Sequence range & Motion Settings
Set Range for Transposition, Time-Delay and Velocity
Save & Load your own patterns
Send MIDI to any Device, Software & Hardware
Advanced MIDI CC/Mapping editor
Pricing and Availability
Chordjam is available now with an intro price of 39 EUR (normally 49 EUR).
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