The Bug has announced a new album, ‘Fire’, which will drop on Ninja Tune 27th August. You can hear the first single, ‘Clash ft. Logan’, below.
The full record will include appearances from a number of celebrated artists, such as longtime collaborators Flowdan, Roger Robinson, Moor Mother, Manga Saint, Hilare, Irah & Daddy Freddy, alongside newer faces like Logan, Nazamba and FFSYTHO.
This is producer Kevin Martin’s first solo album under his moniker The Bug in seven years, and part three of a trilogy that began with 2008’s ‘London Zoo’, which was then followed by ‘Angels & Devils’ in 2014.
“I’ve always been addicted to the physicality and intensity of sound: I started The Bug because I wanted to make music for a soundsystem I had in storage, and the live experience of Bug has always been something I wanted to reflect on record – I’m always looking for fuel to the fire and live shows – and missing live shows in lockdown was a real impetus” Martin said.
“I’m always asking – how can I ramp this up more? How can I get people more out of control? For me a live show should be unforgettable, should alter your DNA, or scar you for life in a good way – that’s always been my goal, to set up shows that are unforgettable,” he continued. “‘What the fuck?’ is the reaction I want – insane is a good reaction especially at a time when there’s so much control in how people consume music and are pacified culturally”.
Last year, The Bug released a collaborative album with Dis Fig, ‘Blue to Black‘. He also contributed to ‘The Sacred Rage‘ compilation, raising funds for Beirut in the wake of the devastating explosion in the city last August.
Eric Prydz has announced a virtual performance series in Sensorium Galaxy’s PRISM, a virtual destination for music events inside a larger immersive metaverse.
No specific dates had been revealed yet, but the performances follow on from a string of high-profile shows in the digital environment last year, including Carl Cox, Black Coffee, and David Guetta. Watch the teaser trailer for the series below.
“I believe metaverses are taking digital events to the next stage, which is one of the main elements that has drawn me to this project,” said Prydz of the series. “Working with cutting-edge technology to deliver special performances has always been mine and my team’s goal, but to now take what we do in a physical space into a digital environment, creating endless possibilities, is so exciting!”
“PRISM is a unique destination for artists. Our virtual setup is constantly mutating based on music. And that’s exactly why this collaboration with Eric is so great,” said Sensorium Galaxy Deputy CEO, Sasha Tityanko. “His distinctive progressive style matches perfectly with our goal to create out-of-this-world immersive experiences for users.”
Prydz is also involved in the Sensorium Galaxy brand reveal campaign, entitled ‘The Chosen Ones’. Directed by Rogier Schalken, the first clip introduces PRISM, which welcomes user avatars for shows with multiple crowd angles, social interactions, and even a ‘DJ’s-eye-view’.The clip was made by Academy Award winning creative production studio The Mill, and renowned creative agencies The Night League (Hï Ibiza, Ushuaïa) and High Scream.
“I’ve been working together with Eric for many years. All of his shows have delivered high-tech experiences and helped to raise the bar in the entire industry,” said The Night League’s Yann Pissenem. “I am excited to see how he can leverage the endless possibilities provided by virtual reality to deliver fully immersive DJ performances.”
Keep an eye out for updates on the dates of Prydz’s virtual shows in Sensorium Galaxy’s PRISM,
Earlier in June, Prydz announced a series of ‘real world’ shows for Los Angeles in August, adding to a forthcoming tour schedule that includes shows across the US, and at venues in Europe including The Warehouse Project in Manchester.
Eats Everything has remixed Carl Cox’s recent single, ‘Sand, Moon & Stars’.
Coxy released the original mix of Balearic house cut back in March as the soundtrack to a five-part football documentary series, ‘Club Ibiza: The Sessions’, and shared his own techno rework in April.
Now, Bristol’s Eats Everything has put his own spin on the track, which you can hear below.
Speaking about the series the track appears in, Cox said: “I am delighted to be a part of this Ibiza story. It’s a magical place where the islanders have always made me feel very welcome. This original track was made with the Ibizan football team in mind. The spirit, power and soul of Ibiza is the sound of celebration, which brings people together.”
You can pre-save ‘Sand, Moon & Stars (Eats Everything Remix)’ here.
Copyright Thrust Publishing Ltd. Permission to use quotations from this article is granted subject to appropriate credit being given to www.djmag.com as the source.
Ty’Dre releases his first EP titled Purpose, a chilling 5-track project with powerful lyrics and light piano keys, chimes, and attention-grabbing heavy bass.
Ty’Dre has dropped numerous singles over the years, leaving fans anxiously waiting for a proper full-length project. Purpose was worth the wait, giving a taste of his versatile musicality.
“We Up” is definitely my favorite track of the whole project. Sonically, “We Up” is top notch. Every piano key that is struck is is very light, which is contradictory to the lyrics because the words contain pain. This beautiful paradox continues as the snappy beats, the heavy chimes, and the harsh bass comes on, gearing more towards a parallelism in the lyrics as Ty’Dre reveals the struggle in his story, as he tries to elevate his community by giving them game. Through the interesting mix of production and the lyrics, he is not afraid to mix the light and the dark sides.
On “Clearer,” Ty’Dre shows us a more vulnerable and heartfelt side of songwriting while still maintaining impeccable delivery, flow, and rhymes. Being a love song, his poetic lyricism is delivered with pure conviction. The chimes, snappy beats, and the piano keys in the production create a deeper level of dimension to the overall sound.
Nightclubs in England will reportedly reopen on 19th July with no requirements for attendees to present negative COVID-19 tests or proof of vaccination.
A government source told the Evening Standard that Michael Gove, the Cabinet minister leading a review on COVID-19 vaccination passports, believes it would be “too much hassle” for the public and businesses for health checks to be required prior to entry into venues.
The source told the Standard: “We are increasingly confident that people are protected and the plan is to reopen everything, with no exceptions.”
A formal decision on the matter will be made on 12th July, a week before all coronavirus restrictions are scheduled to be lifted in England. Cases of the COVID-19 Delta variant are continuing to fuel increasing infection rates in the UK, with 26,068 new cases of COVID-19 being reported today (30th June), the highest number of cases since 29th January.
Yesterday (29th June), Boris Johnson said he was feeling “increasingly confident” that restrictions will be lifted on 19th July.
The news comes less than a week after the government published a report on its Event Research Programme (ERP), which includes data gathered from a number of COVID-19 pilot events. These included two indoor club events in Liverpool with a combined crowd of 6,000 people, a marquee concert, the BRIT Awards, and the F.A. Cup Final. The report found that, from the 58,000 combined attendants of these events, only 28 positive COVID-19 cases were recorded.
Although the numbers offered some hope for the full reopening of society, including clubs, in England on 19th July, the ERP report highlighted real concerns due to the low number of returned PCR tests from attendees after the events. Last month it was reported that less than half of attendees at the Liverpool events returned a PCR test before and after the show as recommended.
Overall, just 15 percent of attendees returned PCR tests after all events in the ERP. Audience members were required to present a negative result from a lateral flow test to gain entry, but these are less accurate than PCRs.
DJ Mag’s recently spoke with Professor Iain Buchan, Executive Dean of the Institute of Population Health at the University of Liverpool, about the likelihood of clubs reopening on 19th July. He pointed to major economic, social and mental health benefits of events returning, but suggested that while pilots had been successful the reality of implementing requirements behind the scenes would be “very hard work”.
Behringer today officially introduced Euro-format versions of three classic Moog modular systems: the Model 15, System 35 & System 55.
The Behringer System-15/35/55 Series Eurorack Synthesizers bring together the company’s previously released Euro-format Moog module knockoffs and pre-assemble them in their Eurorack Go cases.
The systems feature essentially the same selection of modules as the originals, but add Behringer’s CM1A MIDI-to-CV/GATE converter, so that the systems can easily be used with standard MIDI controllers.
And, since the modules are smaller, use modern components and avoid using the traditional hand-stuffed circuit boards and manual assembly of Moog’s limited-edition reissues, the Behringer systems are available at about a tenth of the price.
Here’s what Behringer has to say about the systems:
“The SYSTEM 15 is an amazing tool for those who are just starting down the psychedelic, neon-bathed road of modular synthesis.
This whole setup comes equipped with a 921A OSCILLATOR DRIVERS, two 921B VCOs and a 921 VCO all of which provide three fully featured voices that you can adjust and tweak any way you want! The CP3A-M MIXER module allows you to mix up to four inputs which you can then patch out to other modules. Want a nice pad to your song? Have one signal go to a delay module and have another go into a step sequencer or other modules in the SYSTEM 15 for more intricate patches and hours and hours of fun!
The SYSTEM 15 also includes the CP35 ATTENUATOR module with 4 linked attenuators and two sets of 4 multiples and reference voltages. Connecting a single signal to the CP35’s first input will allow it to pass to all 4 outputs. This allows you to have up to 4 variable outputs of a single signal source. Also included are two banks of 4-point multiple circuits for you to be able to route multiple copies of input signals to other modules.
The SYSTEM 35 is an amazing tool for those who are just starting down the psychedelic, neon-bathed road of modular synthesis.
This whole setup comes equipped with two 921A OSCILLATOR DRIVERS, four 921B VCOs and a 921 VCO all of which provide five fully featured voices that you can adjust and tweak any way you want! The two CP3A-M MIXER modules allow you to mix up to four inputs each which you can then patch out to other modules. Want a nice pad to your song? Have one signal go to a delay module and have another go into a step sequencer or other modules in the SYSTEM 35 for more intricate patches and hours and hours of fun!
The SYSTEM 35 also includes the CP35 ATTENUATOR module with 4 linked attenuators and two sets of 4 multiples and reference voltages. Connecting a single signal to the CP35’s first input will allow it to pass to all 4 outputs. This allows you to have up to 4 variable outputs of a single signal source. Also included are two banks of 4-point multiple circuits for you to be able to route multiple copies of input signals to other modules.
The SYSTEM 55 is an amazing tool for those who want the ultimate modular synthesizer capable of fully scoring that next cyberpunk or sci-fi movie from start to finish.
This entire setup comes equipped with a 914 FIXED FILTER BANK which features 12 active bandpass filters ranging from 125 Hz to 5.6 kHz with additional Low Pass and High Pass filters and one 923 FILTER MODULE with separate Low and High Pass filters each with their own dedicated frequency cutoff controls and jacks for both pink and white noise. But that’s only the start, with the SYSTEM 55 comes with so many more modules, you’re sure to have hours and hours of fun creating beats that you can just lose yourself in.”
Pricing and Availability
Behringer says that the systems are in stock and immediately shipping, with the following pricing:
Stretch, bend, and mangle those sounds, because BLEASS’ tape and granular effects from iOS are now PC and Mac plug-ins, too. Plus we’ve got a CDM exclusive bonus for ROLI hardware owners.
Tour de Desktop
Hailing from Tourcoing, France, along the Belgian border, the folks at BLEASS are already well known to iPad and iPhone musicians. But, now, I’m sure some of you are very much like me. Yes, I have an iPad. Heck, it’s even a fairly powerful iPad Pro from a few years back. I should be using it all the time. But apart from an app or two, I just keep coming back to all the tools and toys on my computer, the precision and familiarity and choice that brings. (I’ll assume streaming Loki doesn’t really count as production, even with all that Theremin I’m hearing and the brief appearance of a volca.)
All that is to say – it’s very good that BLEASS have been gradually bringing their stuff to the desktop. It opens up a ton of workflows and creativity for a lot of us – and once you map automation and/or control, the elements that makes these tools fun to use live with a touch interface can make sense on desktop, too.
So while you should check out all those iOS goodies if you have the hardware, their Shimmer and Reverb, Chorus, and now Granulizer and Slow Machine are all available now as Mac/PC VST and Audio Unit plug-ins. Plus, they’re at iOS prices.
First, Slow Machine. Yes, at its core is a familiar gimmick – the braking effect from a tape machine, along with tape slowing effects and filters. You know what I’m talking about with the brake / tape stop specifically, even if you don’t think you know what I’m talking about. Listen:
As the “Slow Machine” part indicates, they’ve run with the concept, though. You get time-synced slowdown effects, which you can also mix with source material with controllable wet/dry, for adding quantized or unquantized thickening and deepening and processing.
The time stop alone has a number of different modes, triggers, and speed controls, meaning you can precisely mimic the effect you’re used to or bend this in an unexpected way, especially dependent on your source material. (That’s another reason I’m glad to have it in a desktop session, where it provides quick access to doing something fluid and unexpected with existing sounds.)
And then they went in and put in an entire step sequencer with tons of options and randomization. So yes, if you have more IDM-level destruction in mind (hey, we did bring up Warp and the 1990s today) – they’ve got you.
And there are fades and crossfades for everything, including individual steps in the step sequencer.
Check out this extensive review in video:
I should probably make videos, but… sorry, I’m turning my phone to flight mode and playing with this in the studio all night. Coffee’s on. Goodbye.
And then there’s Granulizer, a “granular texture effect.” What’s unique here on both iOS and desktop is its four audio input bus structure, plus there’s a very pretty, 80s-ish 3D visualizer.
There are a lot of granulizers at this point – and on desktop you have all the usual Reaktor or Max for Live suspects and whatnot. But they’ve done an exceptional job with the UI that holds up on desktop as well as it did on iOS, and a smart approach to parameters and tuning:
Grain size (free/synced)
Backward/forward play direction
Shape (grain envelope)
Warmth – ah, there’s your first twist, a distortion phase (smart)
Tune, with mode support
Randomization for everything, with nicely designed controls – stuff you get elsewhere but clearly set up here
Plus, whereas my Max for Live stuff is limited to one host, I’m very happy to have this on Mac and PC as a VST and AU for some flexibility.
And here’s a full walkthrough, except… sorry, the coffee is kicking in and I’m off to just fiddle with the knobs.
ROLI CDM Exclusive
Now, I didn’t ask for this, but BLEASS have been kind enough to give us all a Midsomer present. It’s advanced custom hardware control for the ROLI Lightpad Block – which convinced me to dust mine off, for real.
It’s really clever, and makes the whole effect playable:
If you don’t have a ROLI Lightpad Block, I think it’s still a great reminder to try mapping some hardware controllers on the desktop versions of both the Granulizer and Slow Machine.
They explain their thinking:
BLEASS Slow Machine was originally released on iOS and was designed to make the most of the touch screen of iPads and iPhones. The Time Stop stage in particular offers a large XY control that lets you trigger a classic tape stop effect. Touching this control will result in different time stop envelopes and duration regarding the position of your finger, which is ideal for expressive performance.
Now that the Slow Machine has landed on desktop, we’ve been experimenting with new ways to offer the same level of touch and expression with our plugin. The ROLI Lightpad Block appeared to be a great solution for both the sense of touch it offers and the flexibility of its integration possibilities.
Here’s how to use it if you’ve got a Lightpad Block:
Save the script in the default ROLI Blocks Littlefoot location of your platform (On macOS this is ~/Documents/ROLI/LittleFoot).
Launch ROLI Dashboard; BLEASS Slow Machine should appear in the apps list. Select it and it will load the script on your Lightpad Block.
Click on edit and proceed as follow sto assign MIDI messages to BLEASS Slow Machine in your DAW:
– Set ‘Send’ to ‘Trigger Curve (X). – Use MIDI Learn in your DAW to assign it to the parameter ‘TriggerCurve’ of BLEASS Slow Machine. – Repeat these two steps for both ‘TriggerDuration’ and ‘TriggerOnOff’. – Set ‘Send’ back to ‘All’ and you should be ready to go!
Don’t hesitate to contact us for any help or suggestions. [BLEASS, please, not CDM!]
Also helpful, here’s ROLI’s own video tutorial on MIDI assignment with the Lightpad Block:
Oh yeah, and I’m very curious to see people play with this, so if you do work out a performance – send it our way!
Detroit’s DJ Minx has shared a new track, ‘Purse First’, in celebration of Pride Month.
The legendary house and techno DJ and Women on Wax founder publicly came out about her own sexuality at the start of this month in an Instagram post, and is now finishing June by unveiling a brand new tune, which you can hear below. All revenue generated from sales will go to Detroit’s Ruth Ellis Center, which delivers support and trauma-informed services for LGBTQ+ youth and young adults of colour.
“Sometimes we struggle with showing our true identity, because we’re either told it’s wrong, feel uncomfortable sharing, or we just hide it for other reasons,” Minx posted to Instagram on 2nd June.”People suffer from emotional anxiety at the mere thought of “coming out”, but the stress of not doing so is taking up WAY too much of my space and is shaking my energy to the core. So here I am. Minx, DJ, producer, Momma, partner, lesbian, friend.”
Minx’s Instagram post was met with support from several prominent members of the electronic music community, including DJ Holographic, Midland, Honey Dijon, and The Blessed Madonna. Shortly after making the statement, she was invited to play the first Pride party hosted in the city by Movement promoter Paxahau.
“This track is a nod to Bob the Drag Queen, who was the winner on a season of RuPaul’s Drag Race,” said DJ Minx. “He spoke about always being elegant in any situation, and you should always enter a room “purse first”,” Minx said of ‘Purse First’. “I’m all about being classy, so I thought the title was fitting. To all my LGBTQ friends and fellow Queens, as we re-enter these nightclubs, let’s make it purse first!”
Last year, DJ Minx shared a politically-charged track,‘Blind Amerikkka’, which featured spoken word artist E-Man.
The long-awaited major update to Native Instruments’ DJ platform is here
Wednesday, June 30, 2021 – 14:01
Native Instruments has updated Traktor Pro to version 3.5, adding integration with Beatport LINK streaming and integration with Pioneer DJ’s latest CDJ-3000s.
The update – announced back in May 2021 – has gone through a round of public beta and is now available to download for free for Traktor Pro users.
Beatport LINK – the new version also supports the open-format alternative Beatsource LINK – adds all of Beatport’s catalogue to Traktor Pro, meaning you can DJ using over six million tracks, streamed directly into the software. Beatport has also curated playlists from artists as well as genre-specific charts and customised playlists that will sync in the cloud access devices.
Support for Pioneer DJ CDJ-3000 in control mode has also been added to Traktor Pro, meaning you can connect Traktor to your device and browse and control each deck as if it was loaded onto the CDJ itself. As with other models, you can browse through your playlists and load tracks directly from the unit.
For years, Primavera Sound has been Barcelona’s flagship festival, drawing guests from around the world year after year. In 2020, Primavera was set to come to Los Angeles for it’s debut on American soil. After a postponement to 2021 due to COVID-19, Primavera Sound has announced it will again delay its LA festival until September 16 – 18, 2022. However, to compensate for the postponements the event will expand to three days, providing an experience more comparable to its European counterparts.
Ticket holders may keep their tickets and use them for the rescheduled dates. Additionally, tickets can be fully refunded if requested before July 29, 2021. No lineup for the LA State Historic State Park event has been announced, but festival organizers have shared the enormous lineup for Primavera’s Barcelona festival. The Barcelona and Porto iterations have also been postponed until 2022. For ticket purchases or refunds, visit Primavera Sound’s website.
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