The trio revealed the news on Zane Lowe’s Apple Music 1 show
Tuesday, October 26, 2021 – 13:28
Swedish House Mafia’s new album is “close,” according to the group.
Three months on from saying that ‘Paradise Again’ will arrive later in 2021, the trio – Axwell, Steve Angello, and Sebastian Ingrosso – appeared on Zane Lowe’s Apple Music 1 show, where they discussed the status of the release.
“I think it’s not too far off,” they said. “We’ve been working away obviously, and this is the third song and we’re close. Once we obviously come overseas and come see you, we should dive in. It’s a whole body of work. We should dive into it and just have some fun.”
Now due at the start of 2022, ‘Paradise Again’ is the long-awaited follow-up to the group’s 2012 album, ‘Until Now’. A release date is yet to be confirmed.
Björk has said that her forthcoming tenth studio album is for “people making clubs in their living room”.
Speaking to RÚV, the multi-award-winning Icelandic artist said that the album – which is set to be the follow-up to 2017’s ‘Utopia’ – was recorded with at-home, living room listening in mind.
“It’s for people who are making clubs at home in their living room, restricted to their Christmas bubble,” she said.
Discussing the sound of the as-of-yet untitled release, she said it was akin to “a man who was headbanging, then sat down again and had another glass of red wine, and everyone is home by 10 o’clock, done with the dancing and everything”.
The artist made the remarks amid a series of orchestral live streams at Reykjavík’s spectacular Harpa Concert Hall that are raising money in support of a women’s shelter. In January and February 2021, she played the same venue in aid of women’s charities in another series of shows featuring over 100 accompanying musicians.
Read up on why Björk’s ‘Debut’ demonstrated the endless possibilities of cross-pollination in music in DJ Mag’s Solid Gold feature on the album.
The producer, DJ and Timedance founder will release the four-track ‘I Own Your Energy’ via his own imprint on 11th November. Following on from 2019’s ‘False Reeds,’ the release is described as being “meticulously crafted for rave efficiency.”
On the EP, Batu is also said to have “expanded his aptitude for bass-heavy grooves, harmoniously bringing it together with FWD drum-craze and deep techno kinetics.”
Pre-order the EP here and stream lead track ‘Inner Space’ below.
Back in May, Batu launched a new community music studio. In December, he will perform alongside Voigt.Mas, Sugar Free and more as part of fabric’s new, 24+ techno event series, Continuum.
Photo by Seb JJ Peters
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.
In 2011, Justice followed up on their acclaimed 2007 debut LP,† with their highly anticipated sophomore album, Audio, Video, Disco. Self-described by the veteran Parisian hitmakers as “a progressive rock record, played by guys that don’t know how to play,” Justice’s sophomore album takes their French-house style to a deeper, headier dimension, cinematically blurring the lines between rock and dance music, coming together as a dramatic, distorted blend of airtight electronic greatness.
“Civilization,” “Audio, Video, Disco,” “On’n’On,” “New Lands,” and “Helix” all served as singles from the record, which would go on to become catalog hallmarks, and some of the pair’s most beloved works to date. Despite the record being the Ed Banger duos only LP without a Grammy nomination, Justice did manage to garner significant critical acclaim once again for Audio, Video, Disco, netting a gold certification in 2012, and inspiring Access All Arenas, which was recorded at the Arena of Nîmes in France that summer.
Revisit the masterwork that is Audio, Video, Disco below.
For the past 11 years, veteran DJ and producer Lee Burridge has hosted hundreds of All Day I Dream parties around the world, including a world tour back in 2019. Now the underground house legend sets off to host the very first All Day I Dream festival.
Coming to the Woodward Reservoir in Oakdale, California, May 12 – 15, 2022 the four-day camping excursion beckons to fans from around the world to join Burridge and friends for a feels-first festival-style boutique event that will emphasize creativity, positivity, and wellness. The event promises an array of stimulating experiences, from musical performances to culinary selections, art installations to yoga and meditation sessions.
While there hasn’t been a publicly shared lineup yet, fans can expect the soundtrack for the weekend to focus on an emotive, melodic atmosphere, likely including not only the All Day I Dream label’s diverse roster of artists but additional alternative electronic acts as well.
In any case, the festival is sure to draw quite the ensemble following the long hiatus during the pandemic. Already back in action, All Day I Dream parties returned to their residencies in the larges metropolitan hubs in the world, including Ibiza, New York, London, Chicago, Los Angeles, San Francisco, Mykonos, and more. For more information on Burridge’s debut All Day I dream festival, visit the event’s website.
The current generation TR drum machines have been nearly perfect – well, nearly. Now they have the editor/librarian they were missing – well, almost. It’s brilliant, and it’s a first step, but it’s missing some stuff.
Why we need an editor
It’s just the fact that the TR-6S/8S are so balanced that makes them appealing. You’ve got tons of onboard controls, easy programming, very little menu diving, and a combination of sound engines. So you get modeled classic Roland sounds (with actual modeling, not samples), those cute new FM kits, and the ability to load your own waveforms. I still love machines from Elektron for their depth or the unique character of boutique options like MFB and Erica Synths. The TR is just great to have as your bread and butter – especially since it also packs in tons of I/O and even a multichannel USB audio interface.
The editor is especially welcome for the pint-sized TR-6S, which is cute, compact, and delivers the same engine as its bigger sibling, but does indeed want a little more editing onscreen since it lacks all the hands-on controls on the 8S. But on both models, for all the great tactile quality of these drum machines, it’s a big boost.
Right away, though, it really was the editor that was missing in the equation. Given the whole beauty of this box is loading it up with tons of customized kits, being able to see what you’re doing and manage and easily back them up is really important. Plus some of the nicer effects and FM possibilities are a bit buried in menus – the tradeoff of keeping things simple.
So I do think this really is a big deal – enough so that my TR just started getting some love again. I know MC-101/707 users are keen for the same thing.
The caveat – spoiler, the one thing I have been most begging for in an editor from Roland is sample loading, and they left it out entirely, at least in this first version. (Yeah, I know. Hang tight to see what it can do, and you can bet I will keep complaining until they do ship that)
Here’s how to actually get started using the new editor/librarian, dubbed TR-Editor (which also means you can hold out hope for a TR-9S or something).
The editor installer now lives in Roland Cloud, not on the support page. (Note, too, as I only just realized this – for M1 Macs, you might have the Intel Mac Roland Cloud app if you installed before the Apple Silicon version became available – it can’t self-update to the new build. Uninstall any existing Roland Cloud by quitting its little applet and dragging Roland Cloud from Applications to the trash, then reinstall the Apple Silicon version which you download separately.)
You’ll want to make sure you’ve already installed the USB driver for the appropriate OS – that is on the support pages:
Then inside Roland Cloud, look in the Library, or easier still, go to Hardware > TR-6S/TR-8S and install from there.
You then can launch TR-Editor (without the dash on my Mac at least), and select your hardware. In my case, I had an older version of the 2.0 firmware and it prompted me to update.
And then, you get treated to a really powerful editor. As is unfortunately a bit typical of Roland software lately, they do mimic hardware function fairly slavishly. But just browsing, viewing, and renaming patterns and kits is a whole lot easier. So even though I prefer to program patterns on the hardware – the point of owning a drum machine – it’s really useful to be able to browse through and see where you have some patterns you saved from jam sessions or live gigs. Check the PATTERN tab:
Then there’s the EFX page, which is immediately invaluable. One of the problems with the TR-8S is that you need to do some advance planning with how you want the REVERB, DELAY, and MASTER FX slots to behave. You can store those with kits, but it’s easy to forget which kit has which, and you do want to pre-program some parameters and basically decide in advance which sends you want for parts and which parameters you can choose.
Now all of that is visible – which is great, as some of the “cheap” BOSS-style effects here are simply terrific in live use. And there are some pretty sophisticated parameter options in there, too, especially for the delays or the “mod” reverb. There’s nothing really hidden here, in that this is all accessible on the front panel – it’s just easier to see at a glance.
Note, too, this makes it clear what’s going on with recorded MOTION. (Yeah, ever opened up a kit and couldn’t figure out why it sounded a particular way only to realize you had motion recorded somewhere that you forgot? Now you can spot that – and even find some of those happy accidents, too.)
The INST tab has some settings most of us tend to neglect, like color-coding parts and setting per-instrument effects options.
But notice that FM option, too. So it was pretty dizzying to scroll through all the banks available on the TR, especially after they added the FM sound engine – which to me is really a major reason to keep this machine handy. (Other drum machines do FM, too; it’s just the TR’s FM I find really playable. It really feels like a new Japanese hardware classic; there is a sensibility and character that’s unique – even much as I love some of its European rivals.)
Now instead of trying to remember which bank is where or shuffling back to the manual’s listing (eww), you can see everything in one window – and filter by samples (including your user samples), ACB (that’s the modeled stuff – Analog Circuit Behavior in Rolandspeak), and FM.
To get there, click the INST dropdown first – so INST > [part] (BD, etc.) > INST in the upper-left. (This does not look very accessible to me, if we have any blind readers who can comment.)
Then once you do that, a handy pop-up shows up:
From the INST tab, you can also choose mute groups (think choke with hats and the like), plus output routing.
Wait, there’s stuff missing – like sample loading
No, you can’t load or modify samples inside the editor, it seems.
In fact, if you already downloaded this stuff, I bet I can predict what happened next:
You went looking in the INST tab.
You started looking for SAMPLE sets and USER kits and tried to create one from scratch.
You looked around further for waveform loading – surely. Huh, no. And then you tried randomly dragging and dropping. And then you started looking for a manual. (In the menus? No. On the support page for the TR-Editor? Also no. In Roland Cloud Manager? No.)
Maybe that was just me, but you can let me know in comments if you had the same experience.
Right, so – in fact, there is not a manual, just the video tutorial at top. And it appears there isn’t the ability to load custom samples, only edit from what’s already loaded on your TR hardware. So you still have to go through loading one-shots and the like onto your SD card, then manually loading them from the SD into memory and building your custom kits. It’s not horrible, but it’s also not great – and it was for many of us the first thing we wanted from Roland.
Yeah, sure, Roland is excitedly also giving us pre-built kits or sound packs or whatever. But come on – even beginners sometimes want to go with a handheld mic and build a drum kit out of the pots in their kitchen or use some favorite weird downloaded kit they like. This is part of the fun of music production – making stuff personal.
So I desperately hope Roland works on this. It’s also hard not to notice that again Roland’s software offerings are primitive in comparison to someone like Novation and Circuit. There, you’ve got a Web-based tool and you can drag and drop your samples, plus manage everything in the … uh, “cloud” actually. So it’s weird that the TR-8S, which is a higher-end box, doesn’t have that capability.
Anyway, I’ll stop griping. This is already a step forward, and I still haven’t found hardware that replaces the TR-8S (or TR-6S if you’re saving money and space). Frankly, if you don’t have one, refer folks to this part of my article, convince them that their TR is worthless, and then buy it off them at a cheaper price. (Oops. Okay, hope they didn’t read this part.)
Now, if you’ll excuse me, I will get back to editing some FM kits for myself.
And yeah, please, Roland, editor, sample loading. お願いします！Otherwise I’m going to have to replace my “drum machines have no soul” bumper sticker with “drum machines have no sample loading utility?”
An abridged festival season was salvaged out of 2021, and now it appears it is already time to start planning for 2022, as Ultra Music Festival announces its long-awaited Bayfront Park homecoming with a stellar first wave of talent. Ultra is pulling out all the stops for the event’s hotly anticipated Bayfront renaissance—the festival’s first return to its famed home venue since 2018. Madeon, DJ Snake, Pendulum, Carl Cox, Sofi Tukker, Boris Brejcha, David Guetta, Oliver Heldens, and Fisher represent a handful of acts announced in Ultra’s initial lineup delivery, including a balanced slate of live performances planned for the weekend.
Often hailed as the beginning of spring festival season, things should feel right at home for the first time in years when a swell of the most in-demand electronic acts in the world take over Miami across March 25 – 27. Alison Wonderland, Tale of Us, Zeds Dead, Camelphat, Oliver Tree, Kygo, and more add additional star power, setting an incredibly high bar for Ultra’s upcoming iteration. Watch the lineup announcement below, and keep an eye on the blurred spot in the video announcement. Alphabetically, the lineup could be alluding to a hiatus-snapping Hardwell appearance, but for now, there’s plenty of room to speculate who else might land on 2022’s talent roster.
The first phase line-up has been revealed for next year’s Hideout Festival.
After a two year break from the beaches of Croatia, 3rd to 7th July 2022 will see Hideout return to the beaches of Zrce with one of their biggest line-ups to date.
Among the artists revealed to be heading to the island of Pag are previous DJ Mag UK coverstars SHERELLE and Indian Jordan, with UK duo Overmono (live), Horse Meat Disco and Grammy-nominated Candian DJ/producer, Jayda G.
Drum & Bass royalty Andy C, System Records head Dance System, Monki and TSHA have also been confirmed for sets, alongside Scotland’s Ewan McVicar, Hot Creations label boss Jamie Jones, and BBC Introducing’s Jaguar.
Elsewhere, Bklava, Mella Dee, KETTAMA, SYREETA and Skream are set to join next year’s line-up, as well as Effy, HAAi, Shy FX, Danny Howard and Sonny Fodera.
Tier 1 tickets will be priced at £149+BF and go in sale this Thursday 28th October, and include access to all five open air venues including Papaya, Noa, Aquarius, Kalypso and Euphoria. A VIP ticket option, which includes venue entry along with a queue jump to all the venues, access to VIP areas in all the clubs, VIP bars and more, will also be on sale priced £208+BF. More information on the festival and tickets can be found on the Hideout website.
Dodo MIDI is a free voice to MIDI plugin that detects incoming audio, which can be voice or musical instruments, and translates it into MIDI that you can use to control any MIDI synth.
Here’s what the developer has to say about it:
“What sets it apart from all the other audio to MIDI software packages available, is that it really works incredibly well and is extremely useful as a live musical instrument! For the first time, you can play (almost) any synthesizer or sampler just by using your voice, with imperceptible latency, and exceedingly accurate control over legato, slides and articulation.”
The above video demonstrates how to get started with the plugin. The following video demonstrates how to set it up to control a MIDI instrument:
Dodo MIDI is available now as a free download for both macOS & Windows.
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