Roland today introduced the JX-08 Sound Module, the latest addition to the Roland Boutique lineup of compact synthesizers.
The JX-08 offers a scaled-down recreation of the Roland JX-8P, one of the last analog synthesizers produced by the company in the 1980s. They say that “JX-08 reintroduces the unique sounds of the JX-8P in stunning detail, coupled with powerful new effects, a polyphonic sequencer, and more.”
The JX-08 features expanded polyphony, two-part multitimbral capability, and dual/split modes. It also includes 32 presets from the original hardware and 100-plus new patches tailored to contemporary styles.
Unlike the original JX-8P, the new JX-08 features a full set of hands-on controls, derived from the companion PG-800 programmer unit for the original hardware. Users can store their creations in 256 preset slots for quick recall.
Like all Roland Boutique modules, the JX-08 can run on USB bus power or batteries. It also includes a built-in speaker for mobile sound monitoring. And when mounted in the optional K-25m Keyboard Unit, the JX-08 can be used as a compact, all-in-one synth with 25 velocity-sensitive keys.
The compact JX-08 fits just about anywhere, and with updated USB-C audio/MIDI and full-sized MIDI jacks, you can play and synchronize with almost any piece of gear. There’s also an external clock input, so you can sync to vintage analog instruments or modern Eurorack systems.
32 original presets, plus over 100 new presets
17 new effect types including JUNO-106 chorus, LO-FI Comp, and Pitch Shifter
64-step, two-part polyphonic sequencer with random pattern generator
Two-part multitimbral for playing multiple patches with dual and split capabilities
Expanded polyphony compared to the original hardware
EXT CLOCK IN to drive the internal sequencer and arpeggiator
Pricing and Availability
The JX-08 Sound Module will be available in the U.S. in January 2022 for $399.99 USD.
Roland today introduced JD-08 Sound Module, a recreation of the original Roland JD-800 in their compact ‘Boutique’ form-factor.
The JD-08 includes 64 presets from the original, and recreates the four-tone structure, 108 waveforms, and unique two-part multi-effects behind the original JD-800’s sound. It also features a condensed version of the hands-on JD-800 control panel, giving you a wide range of sliders, buttons, and knobs for direct control.
The JD-08 features a built-in USB-C audio/MIDI interface for working with computer production software, along with full-size MIDI I/O for connecting with other MIDI hardware. An external clock input is also available on each unit, allowing users to drive the onboard sequencer and arpeggiator from vintage analog instruments and modern Eurorack systems.
Like all Roland Boutique modules, the JD-08 can run on USB bus power or batteries. It also includes a built-in speaker for mobile sound monitoring. And when mounted in the optional K-25m Keyboard Unit, the JD-08 can be used as a compact, all-in-one synth with 25 velocity-sensitive keys.
Four-part tone structure, multi-phase time variant envelopes, and palette sliders
Includes the original 64 presets plus 21 new presets
Detailed recreation of the JD-800’s unique two-stage multi-effects section
Editable distortion, phaser, spectrum, enhancer, delay, chorus, and reverb
64-step, two-part polyphonic sequencer with random pattern generator
Two-part multitimbral with expanded polyphony
EXT CLOCK IN to drive the internal sequencer and arpeggiator
Availability & Pricing
The Roland JD-08 Sound Module will be available in the U.S. in January 2022 for $399.99 USD.
With nearly one full year of curative activity under its belt, Insomniac‘s Lost In Dreams is further flexing its eye for identifying standouts in the next generation of future- and melodic-bass with the revelation of its Gateway compilation series. Developed to underscore releases from ascendant acts in these areas, the Gateway series starts with Vol 1, a 10-track collection of cuts from a diverse array of artists including STAR SEED, nøll, Ilustrated, and Caslow, to name just a few. Of note, Dancing Astronaut Supernova RUNN can be found starring alongside Friendzone on the compilation’s third tracklisting, “Sick of You.” Stream the inaugural installment in the sonic saga below.
The Delaware-Maryland-Virginia (DMV) area is one of the most unique and vibrant hip-hop scenes in the entire country, with local artists constantly pushing sonic boundaries and cultivating their own unique flavor and flow. Kinrose is one of these trailblazers, as the Maryland native showcases on his commuter homage to his home of Prince George County, as he narrates riding the “Green Line” into Washington, DC.
Storytelling and narrative direction come to forefront of Kinrose’s new single, as he weaves a tale of commuting into the city to see a loved one. His left-of-center melodicism radiates through an unforgettable hook that is juxtaposed against energetic and cheekily delivered verse work that contorts and contrives the mundane into a highly expressive piece of unbridled lyrical creativity. Accompanied by an animated visual (hand-drawn and animated by maliyah) featuring many iconic DMV sights along the green line, Kinrose pulls no punches when it comes to repping for his home.
An artist like Kinrose has never needed praise or justification to make the music that he makes. His music is straight from the soul, onto paper, and into the listener’s ear. The lack of middlemen in his jazzy, soulful strut is evident and highly enthralling and makes Kinrose one of the most exciting new voices to come out of the DMV this year.
Multi-talented West London artist Tayah delivers an innovative dual single, “Is It Me, Henessy?” featuring two tracks of the same name but with two different interpretations of the same theme. Rooted in the bittersweet nature of love, the tracks explore two sides of the same coin, the punchy A-side carried by Tayah’s soulful vocals contrasting immaculately with the soothing blend of harmonies on the B-side.
Capturing human nature at its most honest expression, Tayah gives us alternate interpretations of love, the twin offering spans the uplifting moments to the less-than-desirable instances of love and affection, cushioned by her warm voice. Where the A-side channels confidence through its sultry lilt, the softer B-side delivers calming vibes that flips the insecurities within a relationship with patient understanding.
Deepening an artistry built upon vulnerable yet healing songwriting, the track leans into Tayah’s soulful R&B which has been crafted carefully with an intention to break boundaries with a creative approach led by soaring soundscapes with emotive undertones.
Drawing us in with its atmospheric beats and groovy rhythms, this rising act who takes influence from the likes of icons such as Patrice Rushen, Slum Village, Missy Elliot, and Mary J. Blige has bloomed as a force to be reckoned with the independent R&B circuit, as her deeply layered lyricism comes together with an easy-going charm to tell powerful stories of the world.
Nashville-based singer and songwriter Jeffrey James channels the restlessness felt during the pandemic into creativity on EP Songs I Found in the Year I Lost, a collection of five tracks pulled from a mix of new collaborations, forgotten demos, and previously unreleased songs, led by his smooth vocals and narrative-driven lyricism.
Opening with the gripping arrangement of “Sober,” that sees him lean into his trademark combination of cinematic instrumentation and thoughtful song writing, both of which stretches into following track, “Making It Up,” a relatable exploration of finding your purpose in life framed by an uplifting message that you will grow up as life goes on.
The eclectic musician establishes his versatility as he switches from anthemic soundscapes to soothing ballads with emotive track “In The Back of My Mind,” a track written pre-pandemic yet fitting snugly into the reflective mood of the EP. He shines a light on his rich, warm voice on the feel-good, acoustic style “Small Talk.”
Final track “We Can Be Heroes,” which was written alongside “In The Back of My Mind,” brings the production to a soft, slow ending with a trim of ethereal backing vocals elevating the layered pop ballad which drives the deeply introspective EP to a powerful end.
James who has continued to build a reputation for his sleek, brooding tracks since his first project in 2016, showcases his ability to challenge himself musically on Songs I Found in the Year I Lost, as he loses himself in the comfort of creating sonic explorations of the human experience, inviting us into the soothing world which thrums with lush instrumentals and relatable song writing that laments a year lost.
As Christmas approaches, Brooklyn bred eclectic singer/songwriter JUSTY shares this aptly titled single “This Time of Year” to remind us of the good times. Over warm somber production, JUSTY tells a love story of a different kind that explores sexual identity. The track paints a picture of a young woman going through the emotions while savoring every minute of living in the big apple, from skating at Rockefeller Center, to taking a ride on the Staten Island ferry. We follow her journey through the boroughs as she craves the warmth of being home where her true love is.
“This Time of Year” is a one-off single from JUSTY, a girl taking in the magic of this time of year. The song is produced by Pieper Beats.
London’s GALA festival has revealed the first wave of its names playing its 2022 edition.
Returning once again to Peckham Rye Park, the three-day event will host DJ sets from the likes of Josey Rebelle, Shanti Celeste, Gerd Janson, Job Jobse, Courtesy, Marcellus Pittman, Goldie, Bradley Zero, Horse Meat Disco, Zakia and OK Williams, among others.
Tama Sumo and Lakuti have also been enlisted to play b2b, while Nu Genea will play a full live band set. Each day of the event will see GALA partner with new stage hosts, including Giant Steps and Born N Bread on Thursday; Worldwide FM and Refuge Worldwide on Friday; and Rhythm Section, Horse Meat Disco and Rye Wax on Saturday.
More artists will be added to the bill in the coming months, with tickets on sale now.
GALA will take place between 2nd and 4th June. You can find more information here.
Revisit DJ Mag’s early 2020 cover feature with GALA 2022 guest Josey Rebelle here.
Indie rock quartet Ok Cowgirl delivers a message that’s all too relatable to anyone who has ever loved and lost on “Across The Room,” giving us the first glimpse of their upcoming debut EP, Not My First Rodeo. Teasing out the complicated web of emotions that comes with crossing paths with an ex, the track’s heartfelt narrative hides behind upbeat sonics.
With reverb-drenched opening notes that give away to frontwoman Leah Lavigne’s hazy yet powerful vocals, the track moves from dreamy synths to gritty guitars over pulsing beats, as the lyrics take us on an emotive journey exploring the sudden moments when old heartbreak that had faded into the background of daily life, gains a spark of life stopping us in our tracks.
Delving into the fact that “heartache never completely dissipates,” “Across The Room,” splits evenly between tenderness and bitterness as the layered sonics wash over you, inviting you to explore the feelings that remain nestled away and ignored in your heart.
Made up of multi-instrumentalist and songwriter Leah Lavigne, Matt Birkenholz on drums, Jase Hottenroth on bass, and Jake Sabinsky on guitar, theBrooklyn-based four-piece who have cultivated their artistry at the intersection of lyric-driven catharsis and dreamy, guitar-centric euphoria have refined their sound, building upon a rich combination of DIY productions, raw performance skills and honest lyrical endeavors. With this latest foray they let us have a sneak peek of the reprieve and release that their debut EP will offer us.
Irish duo Tebi Rex infuses a rock edge into their alternative hip-hop sound on their latest album, It’s Gonna Be Okay, exploring subjects like capitalism, mental health and death with a quick wit and versatile soundscape that moves swiftly from soft vocals to frenetic beats.
While the album opens with gentle and minimal , with the sing-song styling of “We’re Here Because We’re Here,” the duo doesn’t linger in this space for long as they bring edgier, guitar-led touches with “Deadman,” and “Oh It Hurts,” before moving smoothly onto softer tones again on stand-out, socially conscious tracks “Fear Lasta Lampai,” and “Hanging With Trees,” the latter underpinned by singer Roe’s angelic vocals.
The 11-track album which taps into the duo’s penchant for wit is a self-described attempt at optimism which moves into an atmospheric feel that stands out within the lush production, as the conceptual style of “A Tree In The Woods” breaks down the confines of genre with a sharp yet warped blend of sonics.
Focused on themes of frustration and introspection filtered by carefullt constructed rhymes, the duo channel their self-reflective approacg to music and the world around them on the album. Whether weaving a confrontational anthem delving to Irish politics on “Deadman II,” or the quieter contemplation of one’s purpose on final track “Happy To Be Here,” aptly ending the album on a combination of introspective lyricism with sonics speckled with wisps of enthusiasm.
A body of work that sees the rising pair Matt O’Baoill and Max Zanga push the boundaries of the sound by embracing pop sensibilities, and folding it into their trademark rap founded on an earworm combination of O’Baoill’s soft vocals and laidback charm with Zanga’s deeper tones and personality.
From hope and passion to despair and rage, It’s Gonna Be Okay establishes Tebi Rex’s ability to move from dark aggression to uplifting alt-pop swirls, taking us on a journey through intriguing narratives of modern Ireland, politics, racism, death and more all of it led by versatility.
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