Defected announces full line-up for massive The Warehouse Project party

Defected has revealed the line-up to its October takeover of the Warehouse Project in Manchester.

Groove Armada, Crazy P, Dan Shake, Jamie 3:26, Bob Sinclair, Boys Noize, Natasha Diggs, Dave Lee ZR and DJ Paulette are among those set to perform at the 10,000-capacity Depot Mayfield on 15th October. The main Depot room, Concourse and Archive spaces will be split among Defected, Glitterbox and Classic Music Company imprint.  Check out the full line-up in the Instagram post below.

This will be Defected’s only UK party of the year leading up to New Year’s Eve, but fans can catch Defected parties on the White Isle this summer season at Hï Ibiza and Eden, as well as its Sondela sub-label’s new residency at Bora Bora.

See the complete line-up below.

Launchpad Mini and X Firmware Version 2.0 Update

Today Novation announced a firmware update for their Launchpad Mini and Launchpad X. This update brings more customization options to Launchpad owners, allowing them to explore new ideas and produce music with greater ease.

Firmware version 2.0 introduces the Custom Mode keystroke widget. Launchpad owners can “keep creativity flowing” while making music by assigning essential DAW shortcuts using Novation’s Components software for a faster, more intuitive workflow and endless creative options.

On the Launchpad X, the firmware update brings an additional four Custom Mode slots for a total of eight slots.

The Launchpad Mini and X firmware version 2.0 is compatible with Launchpad Mini [MK3] Launchpad X [MK3].

Launchpad Mini and X owners can download the (free) firmware version 2.0 from Novation Components.

Information about the full Launchpad range is available on the Novation website.

Unsound announces first names and theme for 2022 festival

Unsound has revealed the theme for the 20th anniversary edition of its flagship Kraków festival this year.

The festival, which will run from 9th October through the 16th, will unfold under the banner of “Bubbles”, not only a nod to the milestone edition but “also refer[ring] to the way that different communities are isolated from one another and connected, whether through social media, geography or politics.” Additionally, it’ll incorporate themes from Hyman P. Minsky’s financial five speculative bubble stages: Displacement, Boom, Euphoria, Profit Taking and Panic.

In a change this year, Unsound will not use its usual venue of Hotel Forum, a disused communist-era building in 2012, for The Ectoplasm. However since then, “Hotel Forum has now been overtaken by cafes, bars and commerce,” the Unsound team wrote in the announcement. “Like the festival itself, The Ectoplasm no longer has space.” The Ectoplasm’s new venue will be announced at a later date.

Live performers in the first-round artist announcement include Caroline Polachek, Marina Herlop, Eris Drew, Lila Tirando a Violeta, Lucrecia Dalt, KRENZ, Debit and Alyona Alyona. There will be sets from the likes of Two Shell, Loraine James, Yung Singh, Madikoptah, DJ Swisha, Phelimuncasi, and Moor Mother and DJ Haram’s 700 Bliss. Multi-award-winning composer Hildur Guðnadóttir will also perform with Sam Slater, James Ginzburg and Rully Shabara as Osmium for the first time.

More artist names, educational programme and venue details are still to come.

See the announcement on Instagram.

Atari, at 50, leaves a legacy of electronic imagination in visuals and sound

It’s official: video games, or certainly their leading icon Atari, have crossed the half-century landmark. But maybe that’s why the aesthetics of some of Atari’s earliest greats now sound newly fresh – not only retro, but as something elemental no deep in music, art, and culture.

It’s well worth starting out with this interview of Atari’s incomparable personality, founder Nolan Bushnell, who gave a generation of Americans not only video games but whatever Chuck E. Cheese was. (A “pizza time theater,” I suppose.)

“Atari Was Very, Very Hard” Nolan Bushnell on Atari, 50 Years Later [How-To Geek]

Atari’s life began as a coin-op maker. Here’s some incredible video sent by the Coin Operated Division for distributors and operators. It’s especially charming watching the on-the-site game testing.

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It’s a safe bet that some of the aesthetics of Atari games have gone from mind-bending and futuristic to tired to retro to … now, futuristic all over again, with fresh eyes and ears. Just watch the gorgeous minimalism of Quantum from 1982, created by General Computer Corporation for Atari by Betty Ryan (Tylko):

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And then there was the mighty Atari 2600, aka Atari VCS (Video Computer System), 1977 – (believe it or not) 1992. Powered by an 8-bit MOS Technology 6507 CPU @ 1.19 MHz, it was already decently capable of running code – emblematic of how the late 70s brought industrial-grade computation into the home. (Well, by 70s standards, at least!)

Art and music nerds will love the 2600/VCS mainly for its custom silicon, the Television Interface Adaptor or TIA, which handled graphics and sound. It even has a following of modern coders learning its idiosyncracies:

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The TIA’s distinctive sound, in particular – artifacts of the unique way of programming audio effects – is enjoying something of a renaissance now. TIA even now has its own tracker, making it easier for musicians to access:

TIATracker: A new sound routine and sequencer application [Atari Age discussion]

And listen to some of what’s coming out:

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Loom Mum No Computer has also delved into the possibilities of VCS as instrument:

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Whether or not you want to climb down that rabbit hole, it’s fascinating just browsing through how the VCS produced sounds and various forms of distortion, perhaps as inspiration for your own code and patches:

The Atari 2600 Music and Sound Page

(For more on tech and history, there’s a nice read in Atari Inc: Business is fun up on, not that I’m entirely sure of the legality of that link.)

I’m going to side with Bushnell himself (welp) and say Tempest was a high point in game development for the company. It’s just gorgeous, in a way that is inspiring today:

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More on what’s inside:

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Me, I am personally still struck by the pure, glitchy beauty that is Yar’s Revenge – sound and visuals, both. It still somehow feels alien.

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And yeah, there’s something beautiful that the creator of this game – also made what is widely considered the worst game of all time. I love that story, partly because it makes it clear just how hard it was to design and code games in this era – it was totally hit or miss figuring out what is fun, not to mention actually trying to program the damned thing on a schedule.

Howard’s revenge? Well, he gets his games both buried in a landfill and in the Museum of Modern Art. For anyone doing creative coding, then, take heart, I guess.

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Oh, and as for that landfill:

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Okay, sure, 1977 wasn’t 50 years ago, but… yes, it was a long time ago. Those suits.

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This ad, on the other hand, holds up – with some Tron-level graphics and someone getting really carried away in his mind sitting at an office chair (expect all of us can relate to that, though):

And then there was Atari the computer company – really a very different animal than Bushnell’s Atari celebrated today, but vital to music history nonetheless. The Atari ST was a crap platform as far as its audio chip, but worked wonders for MIDI – and so became an essential foundation for various music sequencers, some forgotten (Passport Systems, Dr. T’s), but others still used today (Steinberg’s Cubase, MOTU’s Performer, and Notator, aka today’s Logic from Apple, in particular).

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And lastly – though, no. The answer is no. Definitely not. Again, that audio chip, plus… just generally no; I like the ability to do CPU-native DSP, thank you very much.

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Happy 50th, Atari. Now, excuse me, I think I have to play some Yar’s Revenge and Quantum.

Image at top: Atari Flashback Classics Vol. 1, out from Microsoft. So yeah, tell that Xbox to try to be a TIA.

Check this fanciful “old-school” retro tracker hardware and a cute groove

“Picked up this machine at a local garage sale. The owner said he picked up in the 90s and it was not working. Poking around and fixing the power board, it fired up and it turned out to be a tracker sampler. Looks very similar to a modern tracker?”

Okay, so obviously this is not actual 90s hardware, though – mmm, those light-up keycaps and trackball might have a few of you pondering a custom build to make it a reality. Aisjam made this beauty, with more than a few design cues not only from the classic Commodore Amiga 500 but also the Apple IIc and Apple’s “Snow White” era.

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I mean, at the very least this is worth sharing just so someone hacks together a custom keyboard.

And the groove is nice, plus that desktop.

Well, we’re in the middle of a chip shortage, concepts may be all we have now. (Ideas, at least, are not backlogged for 15 months.)

Some folks really want to add MPC pads to their Nintendo Switch, but it’s just a design concept. Well, unless InMusic is listening and … can find parts.

Suzi Analogue appointed as Professor of Music at UNC-Chapel Hill

Suzi Analogue has landed a professorship at the University of North Carolina’s Chapel Hill campus in the coming academic year.

The New York-based artist, aka Maya Shipman, will join UNC-Chapel Hill’s Department of Music faculty to teach courses on beatmaking, rap and more, as well as lead the university’s Hip-Hop Ensemble as director. 

“I cannot wait to bring my vision to UNC,” she wrote on Instagram. “Dream come true, thank you to my community for uplifting me always.” 

Suzi Analogue previously worked with the university’s Beat Lab to put on an experimental beatmaking workshop. “Through my own experiences with the UNC Department of Music, I’ve come to realize that the program is currently evolving to offer diverse perspectives and strategies on utilizing music not only as a skill set, but as a resource to better engage community, locally and globally,” they said in UNC-Chapel Hill’s announcement

Suzi Analogue frequently shares music and production knowledge by leading workshops and courses, including a recent free masterclass on remixing with Black Artist Database (B.A.D.) and Ableton this past spring. Around that time, their label Never Normal Records released a compilation in collaboration with Ugandan collective ANTI-MASS called ‘Gukuba,’ featuring contributions from the founder.

Revisit Tajh Morris’s 2021 interview with Suzi Analogue as part of DJ Mag’s Recognise mix series.

Lane 8 green lights the year’s hottest season on 46-track ‘Summer 2022 Mixtape’

Lane 8 green lights the year’s hottest season on 46-track ‘Summer 2022 Mixtape’290093695 832758731044964 7977828075181769227 N

Some might’ve already been observing the summer season for the past week but for the dance music world, June 29 officially signals the start of the year’s hottest season. That green light to the new season comes at the hands of who else but Lane 8, who popped back onto social media to unload a dose of serotonin with his staple “i made you a new mixtape” caption.

Rooted on “a bunch of music I’ve enjoyed playing at [his] recent festival shows,” Lane 8’s “Summer 2022 Mixtape” clocks in at just shy of three hours and comes fully stocked with nine IDs to track in the coming months. And the This Never Happened boss’ 46-part second seasonal installment of the year expectedly opens with the first of those nine IDs before turning to Swedish House Mafia‘s “For You“—also including “Time” later on—before rinsing Robby East’s “Fragments,” Cassian‘s “On My Knees” rework, Spada’s “North Sea,” Le Youth and Gordi’s “Hang On,” his own Anjunadeeep 13 single with Rae Morris, Anti Up‘s “Chromatic,” Yotto‘s “Moving On,” Jamie xx‘s “LET’S DO IT AGAIN,” and a finale of HAAi and Jon Hopkin’s “Babe, We’re Ascending.”

Enjoy the first day of summer with Lane 8’s newest mixtape via Apple Music as well as SoundCloud below.

Featured image: Fixation Photography

The post Lane 8 green lights the year’s hottest season on 46-track ‘Summer 2022 Mixtape’ appeared first on Dancing Astronaut.

Premiere: Maara ‘Take the Wheel Miss Sweetie’

Maara will release a new EP, ‘Spiral 2 the Other Side’, via London label X-Kalay this Friday, 1st July. Listen to ‘Take the Wheel Miss Sweetie’ below.

The Montréal DJ and producer, whose tripped-out, proggy take on techno, electro and downtempo has already graced labels such as NAFF and Radiant Love, serves up four cuts of psychedelic music for the dancefloor on this new outing. From the title tracks’ mood-building rave mantra, bolstered by a bassy groove, to the high-speed electro rumble of closer ‘Doom Quest’, the mood across this release is warped and wild. As the third track title, ‘Forget The World’, would suggest, these tracks channel the hedonistic energy of ‘90s rave scenes;the sort of euphoria you find yourself totally lost in. 

‘Take the Wheel Miss Sweetie’ is a vintage prog techno thumper; all cosmic swooshes and swirling chimes, and trance inducing in the purest sense. 

Pre-order ‘Spiral 2 the Other Side’ here

Read DJ Mag’s recent Get To Know interview with Maara here

LP Giobbi shares new single, ‘All In A Dream’, on Ninja Tune’s Counter Records: Listen

Ninja Tune’s newest signing is US artist LP Giobbi, founder of non-profit FEMME HOUSE. Listen to her new single called ‘All in A Dream,’ featuring DJ Tennis and Joseph Ashworth, below.

LP Giobbi, who’s also a trained jazz and classical pianist in addition to a producer, DJ and activist, joins the roster on the influential London label’s imprint Counter Records. Her debut production for her new musical home “came together in such a fun and fluid way,” she said. 

“I was in Miami with Sofi Tukker and they walked into the studio and heard the record and Tucker [Halpern] immediately said ‘I have this vocal sample that would be perfect.’ I threw it in the session, and it was in the same key and fit perfectly.” Then, “DJ Tennis suggested we record live drums for it so we spent a joyous day in the studio trying out all sorts of beats with a live drummer.”

LP Giobbi was recently nominated for Breakthrough Producer in DJ Mag’s Best of North America Awards 2022. Back in March, she collaborated with UK singer and producer Bklava on a track called ‘Sinner‘.

Check out the new single ‘All in A Dream’. 

Dayna Roman’s Middle Eastern roots, Chicago house sensibilities intertwine on ‘Sahara’

Dayna Roman’s Middle Eastern roots, Chicago house sensibilities intertwine on ‘Sahara’IMG 6506

In a titillating, sultry soundscape that translates the heat of the Sahara desert to house technics, Dayna Roman orchestrates the genre’s collision with Middle Eastern inflection. Their interplay has been a hallmark of her sound, through which the 24-year-old producer has paid tribute to her Middle Eastern roots since her October 2020 breakout, “My Love.” These elements meet in a fluid house flirtation on Roman’s latest, “Sahara.”

“I wanted to evoke the mirage of being in that environment,” Roman said of the single’s namesake. Roman, who was born in the Middle East and emigrated to Chicago as a child, also cites “Sahara” as a creative result of her early exposure to Chicago’s “diverse underground house scene” and influence of “legends like Frankie Knuckles.”

Both sonically and thematically, “Sahara” hits the mark. Fluid in its arrangement and sweltering in its overall feel, Roman’s answer to January’s “Inta” is sustained by agile, ear-catching beat work. Chords build at the single’s bridge in a breakdown that is unexpected yet seamless and synchronous with “Sahara” as a whole.

With each release, Roman, who cut her teeth DJing Chicago clubs and New York Fashion Week events, evidences her ear for fresh, culturally influenced sounds—and the dance/electronic music context is taking notice. Diplo, Dombresky, Ship Week, and The Chainsmokers represent a smattering of the artists who’ve supported Roman; as that tally grows, “Sahara” can be streamed below.

The post Dayna Roman’s Middle Eastern roots, Chicago house sensibilities intertwine on ‘Sahara’ appeared first on Dancing Astronaut.