Drumcode’s 250th release is a special collaborative project between label founder Adam Beyer and Kevin Saunderson.
Released on 1st October, the techno label marked the occasion with ‘Re:Generate’, a remix album of tracks from Saunderson’s legendary E-Dancer moniker.
Created over the last year, the release features reinterpretations of the 1998 E-Dancer album ‘Heavenly’ by the likes of Beyer, Robert Hood, DJ Bone, DJ Minx, Paul Woolford, Amelie Lens and more.
“I’m really pleased we can recognise the 250th release on Drumcode with a powerful package of music from such a strong pool of remixer talent,” said Beyer. “E-Dancer’s iconic ‘Heavenly’ album was a defining moment in the history of electronic music.”
“There are so many influences that have been taken from Kevin’s music in that period that you still hear in many of the Drumcode tracks being released today. It feels great to breathe new life into these timeless tracks and present exciting and new interpretations of them here on this album, which will be released in October.”
Saunderson added: “The reason I felt the need to do an album like this is because of the strong presence and influence these tracks from the 90s have had on so many different producers, DJs, artists and genres of music It’s the purest thing from me and a record that will always have a long-lasting place in my heart.
‘Re:Generate’ is out now on digital and vinyl. Stream it below.
It explores the “human and technological barriers to interconnectivity” among other themes
Monday, October 4, 2021 – 12:52
JASSS has announced details of her new album.
The Berlin-based Spanish sound artist, producer and DJ, aka Silvia Jiménez Alvarez, will release ‘A World of Service’ via Berghain’s in-house label Ostgut Ton on 26th November.
Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her multi-sensory touring concept alongside with Ben Kreukniet, the eight-track LP reportedly finds Alvarez exploring the “human and technological barriers to interconnectivity”, as well as “deconstructing the self, unmasking anxieties and interrogating the insufficiencies of language as applied to gender, identity and interpersonal relationships.”
Watch Sander Houtkruijer’s video for lead single ‘A World of Service’ and check out Matt Lambert’s artwork for the album below. Pre-order it here.
Marking her first solo work since her 2017 debut album ‘Weightless’, JASSS released an EP via Whities last March.
There’s a gently pastel-colored hand-drawn interface, a backstory involving extraplanetary mining. It’s a reverb, a degrader and multi-effect, but also a drone maker. But whatever it is, Rymdigare transports everything you do to a warm, happy place. It’s like drizzling stuff with warm chocolate.
We live in dark times, where everything nerdy has become twisted and dystopian. Not so the private inventions of Swedish developer and bedroom producer (proudly) Erik Sigth. Known as Humble, and assembling projects under the Humbletune banner, Erik simply makes music and software with all the things that trigger a nice healthy serotonin response. Seriously, if I had to face the sunless winter of Norrköping, I would want to load up my iPhone with these apps at the very least.
And there have been some absolute gems – most of them fully compliant with Ableton Link, AUv3, Audiobus, and the like so you can use them as really serious instruments. Voicebot, perhaps his best-known outing, is a surprisingly powerful vocoder app that strikes a balance where most vocoders fail – it’s both deep and intuitive. (It also supports MPE input, which no plug-in I can think of even does.) There’s Nils, a quick game-like sampler/looper/bitcrusher. For a more fleshed-out interface, check out e-l-s-a, a sampler that’s a bit like the love child of the Samplr app and a Teenage Engineering OP-1/OP-Z, with lo-fi bitcrushing elements and other cute twists added. Shapesynth is a draw-able wavetable polysynth with its own tape-style looping. String is a quite elegant, playable Karplus-Strong physically modeled string instrument (but you probably guessed that from the name). Frekvens is a frequency shifter and stereo delay.
And then there’s Tardigrain, the clear must-have, which gives you a granular synth with easy audio sample support.
All of these ooze character. I think unlike the startup-style, general-purpose “everyone can make music” apps, what strikes me is that these have the personality of a game, but with a particular sonic direction that makes them an instrument – and the capability to explore that over a long period of time rather than only a quick fix. That may sum up the paradox of iOS development, really. And Erik is one of the few making apps that can be both at once. Which brings us to one of the smartest ones yet…
Rymdigare doesn’t know what it is, which is good
That first-run, novelty, cute-factor is there in Rymdigare. You’ve probably never seen a reverb represented in cartoon form as the legacy of an off-world expedition:
During a routine mining expedition in the outer regions of the galaxy five mysterious boxes of unknown origin were found. Rumours among the workers spread quickly that there was a strange feeling being around these boxes, as if time flows in a different way, not just forward but sometimes also folding back on itself. The miners nicknamed them, the five boxes of reverberation. After the excavation process, to study them more closely, it was decided to transport them back to earth.
But you still get knobs and parameter names and control. And there’s a lot in here:
It’s a deep reverb, with multimode resonant filter. (And it’s a nice one, at that, already worth the price of admission). You get tons of control – length, ratio, skew, tail, feedback via free or bpm or tuned control. Random variation controls are in there, too.
It’s a noise and drone machine – in addition to using it as an effect, you can just generate textures in the app alone.
It’s a multi-effect degrader / waveshaper. You can add all sorts of lovely fuzz and distortion via level degrader, tape-style speed degrader, and wave shaper.
It’s a frequency shifter and full of modulation. There’s an LFO based on planetary orbits – an increasingly popular technique, as it just sounds good – mappable to any parameter. And there’s octave shifting up and down.
And it’s a studio too. Inter App Audio (IAA), Audiobus, AUv3, full Core MIDI support but also MIDI mapping inside the interface. I think there’s not explicit Ableton Link support if you want to sync up the LFO, but just drop it in a host and you’re set.
Everything sounds good in that combination, but I also appreciate that you can approach this in different ways. Just want a reverb that can be fuzzy or musical? This is that. Want to lie in bed making some drones? That, too. What a quick lo-fi effect? Done. Prefer to get more experimental modulating parameters and sound very unlike the demos? Also possible. So as easy as it is to sound good, it could sound very different in different hands.
It sounds like some very expensive pedals, but doesn’t cost much. And it’s just a different experience – purely software and game and touch app in a way the pedals aren’t. When you want something to stomp on and knobs to twist, you of course still have that option.
Also, if you’re not the sort to do everything on iOS, it’s good enough to merit doing some round-trip processing alongside your computer or hardware tool.
Afrojack and DubVision’s names have continuously remained connected since they first crossed paths on “New Memories” in 2017, and after the Dutch brothers most recently remodeled “Hero” in August, the two sides are back together once again. To consummate a trifecta of originals together, Afrojack and DubVision decided to call in a second duo from Holland and form a progressive house superteam alongside Lucas & Steve on “Anywhere With You.”
Initially fired off during the Dirty Dutch king’s display at Romania’s Untold Festival, “Anywhere With You” is a one-way trip down nostalgia lane, resuming the progressive house glory that Afrojack and DubVision had put forth on both their Fais-assisted debut as well as “Back To Life.” On paper, expectations for a crossover between the stature of three veteran names like Afrojack, DubVision, and Lucas & Steve would be reasonably towering, with the trio proving that to be true, cleanly mingling each of their respective progressive touches behind a vocal that’s truly destined to be belted out by a crowd and not missing a step in crafting dance music’s most timely festival anthem.
Stream the three-headed powerhouse’s single below and check back for a forthcoming “festival mix” that Afrojack revealed would be following in the near future.
Roland’s popular SP-404 sampler has been a go-to for electronic music producers, especially those making lo-fi beats, since 2005. Leaked details of a MkII version appeared last week on Reddit – according to MusicTech – bringing with them rumours of a ‘cassette simulator’, velocity-sensitive pads, 32 voices of polyphony, an OLED screen and “upgrades under the hood” to improve boot-up times and load times.
According to MusicTech the leak also detailed “an expanded effects section, which is said to keep the original’s library of processors and introduce fresh additions such as ‘Lo-fi, Cassette Simulator, and Resonator’ along with a vocoder, guitar cab simulator and auto-pitch function accessible via mic/instrument input.”
It’d be the first major update since 2017, to a product that continues to remain a popular choice for sampling musicians and performers, with the list of users including Four Tet, Flying Lotus, James Blake and Ellie Goulding.
Attendees will be required to have a Covid-19 pass for entry
Monday, October 4, 2021 – 11:53
Barcelona’s indoor venues are looking set to reopen this weekend.
A week on from the news that Ibiza clubs will be allowed to reopen from the same date, indoor nightclubs in Catalonia are expected to make a return from 8th October. The Catalan government is reportedly still finalising details, but venues that can host over 10,000 guests will now be permitted to operate at 60% of their capacity.
According to a report by Catalan News, attendees will also be required to have a Covid-19 pass for entry. Proposed to be developed as an app, the Covid passport will show whether an individual completed the vaccination process, has tested negative for virus, or has recovered from the illness in the past six months.
“You just have to prove that you are vaccinated and that you are of legal age, no more data is needed,” said the Catalan vice president Jordi Puigneró.
In his latest video, composer & synthesist Tim Shoebridge shares his thoughts on the ASM Hydrasynth, focusing on polyphonic aftertouch.
Polyphonic aftertouch – and more broadly, the idea of per-note expressive control – is something that’s foreign to most keyboard players, because most traditional keyboard and synths only respond to initial velocity. If that’s what you’re used to, it’s hard to understand the importance of expressive keyboards.
On most synths, you press a key and the note can either die out, like on a piano, or sustain, like on an organ. And that’s it. And that’s a big part of why saxophones and strings and brass sounds have always sounded so static on synths. The keyboards of synths for the last 40 years have by and large not captured continuous per-note expression.
Shoebridge’s video does a great job of explaining why the polyphonic aftertouch of the Hydrasynth is important, and why it gives the synth unique expressive capabilities. He talks about how polyphonic aftertouch can take a ‘boring’ synth patch and turn it into something extremely expressive.
And he also touches on the fact that the level of per-note expressive control offered by the Hydrasynth can be a challenge to keyboard players, especially experience pianists. It’s something new, for most players, and takes some practice to get used to.
Check out the video and share your thoughts on the Hydrasynth – or more broadly, the importance of per-note expressive control – in the comments!
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