Sinevibes has introduced Eternal, a barber-pole flanger effect, for Korg Multi-Engine synths, including Prologue, Minilogue XD & NTS-1 .
Unlike a traditional flanger which has its tone repeatedly go up and down, a barber-pole flanger goes upwards or downwards endlessly. To do this, Eternal uses a low-frequency oscillator with six output signals which modulate and crossfade three flangers, so that the effect can endlessly rise or fall.
The LFO’s also have a “through-zero phase” design, so Eternal can go from downwards to upwards motion and back completely seamlessly.
Studio-grade DSP algorithms, calibrated specifically for KORG’s hardware platform.
Individually chosen mapping for every parameter, providing a very natural feel.
Built-in lag filters for noise-free, ultra-smooth parameter adjustment.
Optimized for maximum performance and stability on each individual device type.
KORG minilogue xd
KORG Nu:Tekt NTS-1
Here’s an example of Eternal being used on the NTS-1 to process guitar:
Befaco has introduced Morphader, a performative tool designed to make multichannel CV/Audio crossfades easy.
The core of the module has four CV-controlled crossfaders, each with their individual control and a master fader to control them all. The module mixes the four crossfades at its fourth output. Each input can also be removed from the mix by plugging a cable into the corresponding own output.
CV Controlled four channel crossfader.
Attenuators per input.
Normalized voltages to every input, allowing cv levels morphing.
Audio CV response switch per channel
Master Fader control with Lag.
Leds per channel for signal level monitoring.
Here’s an interview, via MMT, with Befaco’s Manu Retamero about the new module:
Pricing and Availability:
The Befaco Morphader is available for 250€ assembled. DIY options are also available.
Meet Forester, Xander Carlson and Davis Parris’s poolside melodic house project on Kygo’s Palm Tree Records. Singers, songwriters and producers, the duo tap indie, folk pop, tropical house and more on their latest output “The Flood.” A summer time special, the West Coasters play in the space that Kygo helped define. For fans of the label’s other melodic and sun-kissed productions, Forester is sure to please. A richly textured dance pop love letter, “The Flood” radiates with hope, strength and serenity, at a time when the world needs it most. Forester shares, “The Flood is about the importance of leaning on the people you trust in an overwhelming world.”
Damon Albarn isn’t one to stay still for long. Currently, the Blur frontman and Gorillaz mastermind is working on putting together his second solo album. The announcement came from Transgressive Records, who announced that Albarn had signed to the label for the release of his second album.
Albarn released his first solo endeavor, Everyday Robots, seven years ago, with another release from Blur and three Gorillaz albums in the time since. More details for his sophomore solo release, including an album title and release date, are expected to be revealed soon.
Last December, Bob Dylan made headlines when he sold the entirety of his publishing catalog to Universal Music for an estimated $400 million. Many artists soon began following suit, with Hipgnosis acquiring the publishing and songwriting catalogs of Neil Young, Fleetwood Mac‘s Lindsey Buckingham, Jimmy Iovine, and Shakira. Companies such as Hipgnosis, Universal Music Group, and Primary Wave have made up the bulk of catalog purchases, buying artist’s music for millions of dollars. Even electronic music artists, such as Calvin Harris, have sold their publishing rights.
David Guetta now joins the ranks of artists who have sold their catalog, with the prolific French DJ selling his material to Warner Music Group for an estimated $100 million. In addition to selling his entire catalog, Warner will also own the rights to future releases from the producer. Guetta said of the purchase in a press statement,
“I’m super excited about the new music I’m working on. And even more excited that I have started to play all this new music live to my fans and they are loving it. This is the right time to renew my creative partnership with my trusted team at Warner Music. This deal is about having the best people around me to ensure I can keep innovating with exciting new projects, while also working my extensive catalogue and continuing to build my career.”
While his first several albums had been released and distributed by Universal Music Group’s subsidiary, Virgin Records, Guetta has been in partnership with Atlantic Records and Warner Music Group since the release of his 2014 album, Listen. Warner Recorded Music CEO, Max Lousada, added,
“It’s rare for an artist to not only define a genre, but transform it. David has been doing that for over two decades – igniting worldwide audiences and influencing whole generations of talent. He continues to have an extraordinary impact on the evolution of dance music, while innovating and collaborating with new voices in dynamic ways.”
“A lot of people approached us to express interest in David’s catalogue. We decided to continue our partnership with Warner because they have a knowledge of and passion for David’s music, with a global team that’s constantly working to place it in new contexts. We’re super-excited about some of the deals they’re striking with new partners and their expansion into new territories. This is about proactively working David’s catalogue and new music together.”
In the month of June, Guetta has already released two new tracks, “Impossible,” a collaboration with MORTEN and Dancing Astronaut‘s May Supernova, John Martin, and a remix of SHOUSE‘s “Love Tonight.” Guetta’s impressive catalog is only expected to grow, and certainly makes Warner’s $100 million purchase worthwhile.
Industry insiders have been theorizing as to what may be the motivator behind so many artists selling their ownership rights. Some theories include artists aiming for higher cash payouts that can combat low revenue from streaming services, or lower tax rates by receiving the money in a single lump sum. For older artists, some have theorized that having assets in cash would make it easier to divide their estate than by various royalty checks, while others may be selling their catalogs to help with financial woes.
Kaskade is gearing up for the release of REDUX 005, and now he’s shared the upcoming EP’s second offering. “New James Dean” features vocals from Tishmal, and finds Kaskade experimenting with jazzier instrumentals that highlight Tishmal’s velvet vocal prowess. The track pays homage to the late film icon, James Dean, with a club-like atmosphere that could be set in a 1950s backdrop. The single follows the first release from the upcoming project, “Where Did You Go.”
The REDUX EP series has long been a favorite of Kaskade’s, and his fans, as he allows himself to more experimentation within his sounds. During a 2020 interview with Dancing Astronaut, the veteran producer explained that he creates the songs in the series for his own pleasure, and not for anyone else’s. Listen to “New James Dean” below.
DJ Schwa and Name Does Not Matter teamed up last year to deliver a wicked concoction; now they’re back — on vinyl — with remixes from two of the best in the biz. Featuring two original tracks, and remixes from Posthuman and Jerome Hill, it’s about as evil as you might expect. Think squelching 303s, moody basslines and big beats — there’s no messing about here.
“Ape King” sets the mood with pummelling bass, splashings of acid, and at points, emotional synth work. Followed by an incredibly fun remix from Posthuman, the “Freak Your Body Rmx” blends influences from UK and Chicago hardcore, with a mean acid line taking centre stage. A pure rave weapon, this was made for dancefloors and dancefloors only. Choppy, rave-centred vocals give this remix that oldskool edge that we all crave, and it’s making us feel all kinda ways; the main way being nostalgic for dance music on a heavy soundsystem.
The second original track “Obsolete” strays further into electro territory, cooking up an absolute storm from start to finish. Ruthless without ever getting out of hand, “Obsolete” is a masterclass in controlled carnage. Jerome Hill steps in to give the track a techno makeover to round off the EP in fine style; unsettling synths and a dark bassline completely transform the track into a brand new experience.
Obsolete can be streamed and purchased via Bandcamp.
For many of us, the pandemic’s lockdowns meant being forced to shelter in place and work from home. For many others, it meant working on the front lines even under unprecedented uncertainties. For touring musicians however, the pandemic meant not being able to work—at all. Though now, as we inch back to normalcy, we’re likely headed for a creative boom, and an adjoining touring frenzy, unlike anything the global electronic music industry has ever seen before. Leading the charge is veteran force 12th Planet, announcing his brand new Supernova EP, dropping off the project’s lead installment, “Clairvoyant,” and laying out a 25-stop road stretch to boot. Ahead of the EP’s full delivery, 12th Planet told Dancing Astronaut,
“I am really excited for this 2021 tour. Last year my tour got cut right when we were about to start due to COVID-19. Since then, I have been at home working in the studio and waiting for this moment for over a year now. I can’t wait to play all my new music I have been working on, especially the songs from my upcoming ‘Supernova’ EP. I have also been working very closely with Team Immanent on creating a new visual show for the tour. On top of that I have some new merch about to drop for this summer and for the tour. I can’t wait for everyone to see it. Overall, I am absolutely ready to get back on the road again.”
The Supernova tour is due to kick off in Los Angeles on August 13 and run into November, hitting Chicago, Atlanta, New Orleans, Las Vegas, Philadelphia, and more in between. Support for the tour has yet to be announced publicly, however, look for the “Swamplex Terrestrial” producer to represent on the road with a talented cast of bass music’s best. See the full tour poster, and hear the lead single from Supernova below.
A monthly custom is forming for AREA21’s outer space-led path to fall. June now tags the third successive month that Martin Garrix and Maejor have inflated the tracklist for their alias’ presently untitled full-length LP, with the duo once more rerouting its spaceship’s passage through both STMPD RCRDS and Disney’s Hollywood Records to deliver “Mona Lisa.”
Garrix and Maejor’s adventurous synergy has only tightened across their LP’s opening trilogy of singles, which comprises “La La La,” “Pogo,” and now, “Mona Lisa.” Suitably branded after the unmistakable Leonardo da Vinci portrait, AREA21’s newest journey decodes the aliens’ newfound indie-electronic angle, with “Mona Lisa” nodding back to Garrix and Maejor’s partnership origin, “Spaceships,” to wipe away any doubt that they “still don’t give a f*ck.” Staying the course set by AREA21’s prior album singles, “Mona Lisa” is fitted with yet another stellar Titmouse-produced animated short that picks right up where “Pogo” left off on AREA21’s space roams, where anything goes.
Watch live sets from Frank, Stas, and myself as we prepare for a new season of Transm::on Berlin – this is streaming of the strange, experimental, glitchy, industrial, and electronically weird sounds from a crew who lives and breathes them.
Berlin is cautiously reopening events after months of tough restrictions. Looking back, one of the things that made many of us feel musically connected in isolated times really was streaming events, challenging as they could be.
Thanks to distance, contact tracing, and gentler rules at the time, it meant that last fall we weren’t only playing for cameras and empty rooms. We had a select group of fellow artists and a feeling of communication.
And that’s hopefully what Trnsm::n Berlin is about. The streaming series is hosted by Suicide Club, one of the city’s longest-running club stories. (The name references the punk duo and its history there and in Berlin.) Pat Flanders at the helm, from the club’s booking, comes from leftfield label Mindwaves.
After the first season, patched together spontaneously out of necessity, now the club and the series are back. That will start with a big opening on Saturday the 26th of June, all on a new floor built during lockdown.
So with that upcoming, let’s hit rewind. We got to do a full night lineup end of August last year. It was a chance to invite artists I know primarily through the Raster Media (formerly Raster-Noton) platform/label, including Chemnitz-native and endlessly inventive musician Frank Bretschneider and the hyperactive creative force of Kyoka. Plus Russian-born voltage and pixel maven Stanislav Glazov contributed a live set, as did I. Mary Yuzovskaya, recently relocated back to Berlin from New York and in charge of the top-quality Monday Off joined Lars Hemmerling (Dock Records, Fullpanda) for an expertly-curated DJ set.
Full set premieres here on CDM:
Frank Bretschneider is the kind of creative force that drew a lot of us to Berlin in the first place. His work is precise but free, deeply rooted in a tangible connection to the sounds he shapes, floating easily between different moods and forms. He’s someone who’s invigorating to be around because he is always changing and growing.
So don’t miss his semi-hybrid set (well, YouTube’s algorithms spotted the tracks, even as he plays over top of them), all on a tasteful set of instruments.
And he can meld the experimentalism of club sound with its counter-parts in avant-garde sound objects. Check his latest album, which is adapted from self-generating pieces made for an installation organized by Raster mates Olaf Bender and David Letellier.
Stanislav is simply a maestro of patching, whether it’s a Eurorack modular or a generative visual system. His sound goes deep into hard industrial and noise constructions with terrifying power. And while that might sound abstract or academic, he can command the attention of the warehouses and concrete corners he plays in both Russia and Europe (including the likes of Moscow’s mighty Mutabor).
As evidence of the futurist worlds he inhabits, see his recent mega-session from Russia’s CGEVENT. (Russian only, but if you don’t speak it you can skip around for some wild stuff happening and users of these tools will probably follow what’s going on.)
Well yes, I also play, and pink hair was necessary both to complete the hair-color spectrum of the lineup and to make sure I’m not easily recognized by any wandering titans of electronic music synth companies trying to capture my identity.
So this set is improvised in VCV Rack and Roland TR-8S, plus Reason Friktion, with the spare CDJ acting basically as an additional sample playback instrument, and a ROLI Seaboard RISE.
And yes, I can’t live without my Faderfox (that’s me and Frank, both), or my Logitech mouse.
Kyoka’s set was pure fire, but we weren’t entirely satisfied with the recording so – I urge you to see her live when you can, and check out her productions. She’s had some terrific remixes lately:
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