Techno magnates Adam Beyer and DJ Rush have teamed up for the first time in their lengthy careers. Coming together for four original tracks, their Restore My Soul EP is a gripping reminder why the two veterans are so highly revered. A dark theme runs throughout the project, as undergound techno rhythms converge with gloomy synth elements and commanding distorted vocals. Arriving just in time for several festival and venue revivals, Beyer and Rush’s latest project is full of club weapons sure to decimate dancefloors everywhere.
Developer Joakim Frostegård has introduced OctaSine, a free and open source FM VST2 synthesizer plugin that the developer say “draws inspiration from the Elektron Monomachine, as well as from NI’s FM8”.
Works on macOS, Windows and Linux
Four operators with independent parameters such as volume, panning, modulation index, feedback, three different frequency modifiers (ratio, free and fine) and ADSR volume envelope parameters. The operators can be independently switched to white noise mode
Flexible routing allowing setting the output operator (with some limitations) as well as the percentage of signal that is simply added to the final output, enabling additive synthesis. By default, operator 4 is routed to operator 3, operator 3 to operator 2 and operator 2 to operator 1.
Modulation panning (!), not present in FM8
Master volume and master frequency parameters
Four LFOs capable of targeting most operator parameters as well as most parameters of lower index LFOs.
SIMD-accelerated audio synthesis with runtime feature detection for less CPU usage
OctaSine is available now as a free download. The source code is also available.
After curating events and lineups in Los Angeles over the past five years, Space Yacht is highlighting a new collection of talent with its debut compilation, Big Bass Ting Vol 1. Named after Space Yacht’s weekly Big Bass Ting events, the compilation invites several rising bass stars, including 21-year-old El Paso-based NAZAAR, San Diego duo Blurred Vzn, 21-year-old Los Angeles talent FutureExit, and more.
The compilation allows for fans of Space Yacht to enjoy the sounds found at Big Bass Ting events from the comfort of a pair of nice headphones, acting as a means of tiding over those who miss going to shows until the weekly events are able to make their full fledged return. Reaching the standards Space Yacht has set for itself in terms of curation, each track found on the compilation highlights the others, promoting the diverse array of talent that those familiar with the brand have come to expect.
Each artist from the compilation was either discovered at one of Space Yacht’s events, or through the brand’s Twitch series, Tune Reactor. The Los Angeles-based event and music promotion imprint has managed to continue its upswing throughout the pandemic, hosting livestreams via Twitch and also releasing the Tech My House label compilation.
The label’s founders, Henry Lu and Rami Perlman, sat down with Dancing Astronautback in February to discuss how the pandemic has allowed the brand to grow, providing Space Yacht with the room to venture into live streaming and signing artists. The pair also revealed that fans can expect a few more compilations from Space Yacht in the coming months.
Au5 drops off a certified head-turner with his latest single, “Make You Cry” featuring RUNN, landing on Tritonal’s imprint Enhanced Recordings. The New Jersey-native’s newest offering abides by his decorative approach to the heavy and melodic dubstep sub-genres, as the empowering vocal track follows up on his two previously released Enhanced singles “Was It You” with HALIENE and “Happy Where We Are” alongside Tritonal and Dylan Matthew.
“Make You Cry” not only spotlights Supernovas-featured singer RUNN’s unmatched vocal prowess but furthermore defines Au5’s eloquent balance of bittersweet melodies and startling basslines. The duo bring forth a flawless bout of melodic bass, landing as some of the strongest outputs from either artist in recent memory, while furthering Enhanced Recordings’ reputation as a leader in this particular sonic space. Stream “Make You Cry” below.
Alan Walker and Imanbek have joined forces for their very first collaborative effort —”Sweet Dreams,” which includes a sample of the inescapable ’90s hit “Scatman.” The unique collaboration brings together two former bedroom producers who have individually blossomed into industry heavyweights for a catchy joint single that highlights both producers’ complementary stylistic touch points.
The song is unapologetically high-energy with a brilliant blend of the new and the old electronic tropes. The track’s vocals carries the upbeat tune through the ebbs and flows of the production, ultimately yielding a feel-good output thats ripe for the time. In addition to the single, Walker and Imanbek have put out an elaborate accompanying music video that was shot in Dubai and released on Walker’s YouTube channel.
“Sweet Dreams” is the pair’s first time working together and their output will unquestioningly leave many hoping for more from the two in the future.
One simply “Can’t Fake The Feeling” that Carl Cox evokes on his rework of Geraldine Hunt’s cult classic. The world-renowned British producer pays homage to the American R&B icon with a funky recasting of the timeless original. To celebrate its 40th anniversary, Unidisc Music has been enlisting some of today’s top dance producers to remix classic IDs from the label’s historic catalogue. Following Claptone’s remix of Trans-X’s “Living On Video,” Jacques Greene‘s reimagining of the Lime favorite “Babe We’re Gonna Love Tonight,” and Alan Fitzpatrick‘s club-ready rework of “Let The Music Play” by Shannon, Carl Cox returns with another shot of house-fueled dopamine.
Now resurfaced by the king of Ibiza himself, “Can’t Fake The Feeling” spent seven weeks at the top of the US Dance chart in 1980. Cox’s refined, pitched-up edit evokes sentiments of nostalgia mixed with modernized enthusiasm. What’s more, Unidisc Music has plans to keep the party going with upcoming reworks from other dance acts, including Purple Disco Machine, to further perpetuate the thrilling anniversary project. Stream Carl Cox’s latest house offering below.
Through a dynamic, insect-like personality called “Lonely Bug,” Liam Payne captures the zeitgeist of the COVID-19 pandemic—the frustration, the pensiveness, the introspection, and in some ways, the indulgence of childlike feelings and tendencies—in non-fungible token (NFT) form.
A sentient, conflicted character that Payne conceived of at the start of the COVID health crisis, theoretically, Lonely Bug is “meant to be this ethereal character.” “It’s almost like a fly that is stuck under a beer glass and wants to escape but can’t,” Payne said. “I think we all felt that at the start of the lockdown.”
After starting out as graphite on a sketchpad, Lonely Bug would take on dimension, thanks to the help of Payne’s former “Get Low” collaborator, Zedd, as well as Gabe Damast (“Silly Gabe”), a 3D animator, designer, and VDJ, and entrepreneur GaryVee.
“When Liam explained the Lonely Bug concept to me, I could really feel for it because there’s something in that concept that I see in myself…the bug being trapped in this box, being able to see all the beautiful things outside of the box but not being be to access them,” Zedd said. “And of course for Liam, I think that’s something extremely personal. To a certain degree, it’s his life, being the superstar he is, being able to see all the beautiful things but not really able to do them, and of course, everyone can always look inside and see what he does.”
As COVID-19 continued to evolve, Payne, Zedd, Silly Gabe, and a handful of others close to the project routinely met via Zoom to strategize and shape the Lonely Bug blueprints. “After we established what we wanted the animations to look like, then the musical conversation started,” Silly Gabe said.
For this portion of the Lonely Bug vision, Payne would turn to Zedd. Circumspection when selecting the chords to be used in the “four to five” Lonely Bug pieces was paramount to the accurate and appropriate sonic translation of the emotions associated with the pieces, Zedd explained:
“My role in this Lonely Bug world is to score the correct emotion for each piece because they can be interpreted in different ways and that’s why I always kept in touch with Liam and continuously asked him all these questions about how he wants people to feel when they see it because the pieces are kind of emotional and sad and if I put the wrong chords underneath, it wouldn’t feel that way, so I really wanted to make sure that everything I put there is exactly what Liam was envisioning because he came up with the concept. They’re supposed to feel different in their own ways and I’m guiding those emotions.”
Representing a “more physical, more immersive” approach to an NFT drop, from its conceptualization to its look and impact, the Lonely Bug Collection will land on Nifty Gateway on June 15. Learn more about the making of the transcendent, envelope-pushing NFT below.
The Music Venue Trust has warned that grassroots venues will face closure if the UK’s 21st June reopening date is delayed.
With rumours gathering pace that the UK government may delay the full relaxation of social distancing measures currently planned for June 21st, LIVE, the industry body working together to assist artists, venues, management and more during the COVID-19 pandemic, has published new research about the impact of the potential delay.
In the report details, which were published by NME, LIVE stated that the possibility of a four-week delay to the government’s roadmap would cost the live music sector over £500million, and force 5,000 scheduled shows to postpone or cancel.
Greg Parmley, CEO of LIVE, said: “The government has said it wants to protect the domestic unlock at all costs, but delaying the roadmap leaves us in limbo – unable to proceed with plans and enjoy our summer at home, forced to abandon large scale events that the public are so looking forward to after a year of cancellations.”
In another report compiled by the Music Venue Trust, the organisation has warned the UK government that clubs face “an immediate financial and confidence crisis” should the delay happen, and more that £14.3m of assistance would be required within weeks to keep venues afloat.
Mark Davyd, chief executive of Music Venue Trust, told TheTicketingBusiness: “If the Government decides on a delay on the basis of evidence about the risk to public health we would like to see and review that evidence, especially the evidence from the Social Distancing Review and the Events Research Programme, both of which were due to be published before the end of May and neither of which have been made available.
“In the event of such a delay being required by the evidence, the Government, being the source of the decision, has a duty to bring forward a comprehensive financial package immediately which would prevent the closure of premises, job losses and businesses failures.”
When requesting the information from venues, MVT maintained that venues should “not assume any change to dates is likely or possible because of this survey”.
Earlier this week, the Night Time Industries Association (NTIA) issued a warning that any such delaying decisions would be “catastrophic” for the hospitality and night-time sectors.
“Night Time economy businesses have waited patiently for their opportunity to open for 15 months,” the NTIA’s CEO, Michael Kill, said, adding that “many have not survived, some are on a cliff edge, hundreds of thousands of jobs have been lost, a huge pool of talent has been swept away and left to suffer extreme financial hardship”.
Music is not just made alone in sound-sealed rooms; it’s also that wasted time with friends that feeds us. So here in a compilation from a self-described “avant-garde cocktail parlour” comes a musical picture of people missing a place to share.
For so much of this planet, the past year has proven a lot of the “non-essential” activities turn out to matter a lot. The word “scene” gets tossed about in the music media enough to be basically meaningless. So let’s forget coherent scenes, cool kids, cash to spare – bars are also places to scrounge your last few bucks for a fancy cocktail, places we work to make ends meet (behind the decks or the bar), and haunts for misfits.
And yeah, it’s not just our friends have been out of work as DJs. Our friends are out of work as bartenders and coat check staff and cleaners. For many with even one foot in nightlife, pandemic restrictions on who you can meet from “outside your household” seemed almost cruel – dirty and chaotic as nightlife venues are, they are the household where you see people you know.
So Dream Baby Dream is just one of the many venues that have been trying to make it work in the meanwhile under wildly diverging conditions – some places lucky with governments, some not at all, but almost everyone has been trying to sell t-shirts or mugs or anything.
I was glad to participate back to Dream Baby Dream Volume One myself as this is a place where weirdo Berlin music artists cross paths – if nothing else, to play a night of music in a town with an overwhelming number of DJs relative to venues.
DBD is a cozy haunt in the Winsviertel neighborhood of the city, close enough with music types that it routinely names its cocktails after artist regulars. It’s everything that didn’t work in pandemics – small spaces, squeezing next to people, sharing some thick air. And talk about household – the back room is even decorated like a dusty living room. Somehow that feeling threads its way through the VA – crowded nights of debauchery, serendipitous meetings.
And there’s a nostalgic sense of the music influences artists share, from post-punk, industrial, EBM … a departure from just the straight-ahead techno flavor-of-the-month and Berlin-music-as-meme. Detroit legend Alan Oldham (DJ T-1000) even takes on the name Front 313. (you get it…)
Everyone sure bought their a-game – dare I say even a little competitiveness – for this volunteer VA. It’s sort of a banger rally, with the usual modern-Berlin-and-friends expat hallmarks of darkness, obsessive production detail, lots of history, very much more darkness.
PHASE FATALE and UNHUMAN, who waited out the pandemic in Tbilisi Georgia, start the collection with a brutally aggressive, cheeky “Fünf Euro Bitte” – but then Phase Fatale was known for bringing these vibes to his regular Berghain appearances, too. The pair-up is beautiful.
It kind of never lets up from there, but some highlights for my own taste (taste being what it will be):
PATRICK DSP delivers full-force athleticism on “Total Control,” expert-mixed physical conditioning. He’s an underrated talent, an expert engineer with a real sense of kinetic musical energy in his productions.
MÆDON is a total up-and-comer of top-notch, grimy goth machine destruction, and her remix of SARIN is just a perfect, instant hit. Plus the bloody sonic “pain is your friend” joy that is “Blood Is Beauty.” Okay, that sounds depressively self-indulgent, but it’s inventive and frisky – goth trickster. Don’t miss her DJ sets, either, which help define this room.
CLARISSA is lovable for just confidently violent dancefloor agony in “Abhorred” – but yeah, of course Berlin has a bar where you can just put this on as loud as possible while people sip cocktails or beers. You know – chillout times.
But a special callout to FRONT 313. The track is “Isolate,” but if you were looking for something to absolutely bang when you’re back at a safe and vaccinated public event – this one is a good shortlist candidate. There’s enough idolizing of Detroit and the past – Alan steps away from that by making a cut that is instantly memorable, now. It’s got the EBM sounds and machine feeling, but that groove that puts your ass in motion, and devilish hooks.
I feel the same way about this compilation as I do a lot of the ones I’ve talked about from around the world lately. You can hear producers writing love letters to one another, even in isolation. So here’s always valuing those moments we get to spend together – I’ll drink to that.
But please, if you can’t join us in person, have a virtual drink with us.
To give you more of a sense of this map, here are some related DJ sets lately from this crew:
MÆDON is absolutely one to watch, and her live set is jaw-dropping:
Phase Fatale spoke last spring about his approach to track production:
And yeah, here he is with brother-from-another-mother Unhuman in a nice B2B from Tbilisi (where they’re working closely with the club KHIDI – that’s a soft ‘k’ since I mucked up the pronunciation recently, problem with being a writer):
And they’re each a force on their own, but it’s also fun watching Operant as power couple B2B, too, here for Ireen Amnes’ Under My Feet (in exile on streams already last March):
Lastly, Mr. Alan Oldham has been keeping very busy, and I’m glad to know that will be back in real life and not only the Internet soon:
It’s also well worth visiting the discussion Alan had with Lenny Posso and Waynette to talk about whitewashing in music, from last summer. And I am frankly relieved that one thing that has come out of this year is that, hopefully, Berlin is no longer avoiding this topic. Berlin is Black, too, among other things, and it’s long past time to acknowledge both ex-pat and German native Blackness. (Not to just drop that at the end of this story, but – as a regular reminder!)
Despite not being on the scene for long, Brighton-based artist Single Ruin shares their fourth single “Careful Now”. It’s a whirlwind of brooding sonics that build and rouse the senses whilst snarling synths and electronic pulses take charge and storm the narrative.
Written about relationships clashing, “the song is about asking someone seemingly close to you if they care about you at all,” they tell us, the monsterous soundscape paving its way into an ongoing murky water of pulsating bass patterns and incredibly tense sounds. “Careful Now” grounds itself on being the moody older sibling, providing mystery and intrigue around its directions by holding on to the rises and falls of sonic teasing. This would be the perfect hype song for anyone who needs an adrenaline boost as it simmers on an explosion without ever hitting that high. Clawing into a hefty bass line, “Careful Now” maintains its intensity throughout, promising to stay to at a level without overspilling its dynamism into something hectic. A beautiful mess, if you like.
“I wanted the song to have a sonic edginess about it to convey a tension in the question the song is asking”, he tells us. Well, job done, I’d say.
Single Ruin’s forthcoming EP Unique is out this July.