“I was listening the other day to a couple of the Constant pieces by Stephen Philips and though I had heard some others in the series by people like Digital Mass, Zieltogend and Phillip Wilkerson, I was intrigued by the simplicity of the pieces and thought I’d try writing one myself. It’s only been recently that I’ve been writing drone music so I started with a single note and then gradually added more until I had what I felt was a nice sounding chord, not exactly a minor or major chord but still something pleasant. I added some effects and used paulstretch to help create the feeling I was going for which was something simple that conveyed the purpose of the series, doing more with less.”– Scott Lawlor, 2013
It’s all Deceptikon, in the remix – gear and tracks.
First, 1978, meet 2013. The re-released Korg MS-20 mini here teams up with the lovely iPhone sequencer app Arpeggionome, courtesy the wonders of MIDI. (See our recent feature on the app.)
As Arpeggionome’s clever developer Alexandernaut describes it:
My friend Deceptikon (http://deceptikon.net) tries Arpeggionome for iPhone for the first time, connecting it to his MS-20 mini. Levels, drums, and effects with [M-Audio-made] Evolution U-Control controlling Ableton Live.
Yes, Midiman acquired Evolution and continued to make the controller here. Shame the UC-33e hasn’t seen a successor, actually.
And the whole rig is in the hands of an old favorite artist, Deceptikon (aka Zack Wright of San Francisco). (2011 release below, some nice stuff – happy to hear a new album is in the works.)
If this fiddling doesn’t fit your fancy, we have a fantastic free mix of remixes from Zack, too. Listen:
And that 2011 EP:
The post Deceptikon Pairs MS-20 mini, iPhone Arpeggionome – And Chooses Favorite Remixes appeared first on Create Digital Music.
Properly configured, a Linux system can breathe life into old hardware or finely-tune performance on new gear. The problem has often been not the OS, but having a comfortable tool for production when you load it. And so that means Linux fans – or would-be fans – will likely be pleased to see the image above.
It’s Tracktion, the lovely but oft-overlooked, bargain-priced DAW, running on Linux. (I highly recommend the just-released Ubuntu Studio. The update includes loads of fixes that solve the kinds of audio configuration problems that have kept many people from Linux, and the compatibility of that release is unparalleled. Ubuntu 12 is in fact directly supported here.)
First off, Tracktion has escaped its past. As some readers note, while developed by Mackie, the software fell behind, causing compatibility woes. Since then, Tracktion has again become independent – and is moving faster than ever, with a major reboot that makes it compatible with the latest and greatest stuff.
And Tracktion could have a future, too. Footholds in this business are largely to do with distribution, so a recent Behringer bundling deal, combined with a major upgrade earlier this year (and existing Mackie bundling), could give Tracktion a shot in a marketplace that remains pretty well dominated by a few players. You know, some trac– augh. Sorry. Never mind.
Of course, Linux isn’t likely to cause any explosion in users, but it’s nice to see 64-bit Linux alongside 32-bit and 64-bit Windows and Mac releases – and for enthusiasts, it’s nice to see attention given to a dedicated community regardless of its relative size.
There’s reason to root for Tracktion. It has a really nice, one-screen, drag-and-drop interface that eschews the mold other tools (even the mighty Ableton Live, in some regards) fit. Upgrades are $29.99; full licenses $59.99.
The beta test is free, so Linux users, please do test this and let us know what you think:
Tested on, say the developers:
• OSX 10.7.x & 10.8.x
• Windows 7 & 8 (64 and 32-bit versions)
• Linux (Ubuntu 12)
The post Tracktion, Elegant, Modern $60 DAW, Now Does Linux, Too appeared first on Create Digital Music.
Dense, dark, packed, young and fresh. No, not the club – this mix. We invite Electric Indigo (Vienna’s Susanne Kirchmayr) to tell us about her new, freely-downloadable podcast with Linz, Austria’s Houztekk Records. It’s a shadowy, labyrinthian journey through the newest and most adventurous sounds in techno. And by techno, she means a wide range of noisy, broken-beat, resonating — well, let’s let her explain. That is, along with listening, because Susanne has a unique talent for producing a simmering, tasty stew from all these component parts.
Or, to the music, as Tim Exile says in his track title: “It’s Dark In Here But I Still Love You.”
For this podcast, I wanted to do something special and turn the theoretical disadvantage of not having a full DJ setup at home into an asset of the mix. My intention was to create a very dense and intense layered structure of beat-driven and ambient / experimental tunes using my favorite new tracks. So the mix represents several key qualities of techno that always have been crucial for me:
1. The music is fresh, released recently or to be released in the near future.
Background: I started off as a DJ playing hip-hop mixed with a lot of 70s funk and jazz from the 50s to 70s. That was in 1989, and after a while, I didn’t like the new hip-hop stuff so much anymore, and consequently ended up playing old tunes over and over again – until I came across Chicago and Detroit techno. It was a revelation, and finally, I could play new records again! I just love the permanent evolution and creation, this flow of musical information and young artists emerging, established artists developing. Of course, I have a lot of respect for historical achievements in music and I like old records, too, but I don’t want to play “classics” or give lessons in music history when I DJ. As a DJ, I am all about giving novelties my personal touch through mixing and combining.
2. “Techno” in my personal definition has a very wide range of sounds and rhythmical structures, and many of them are present in this mix.
This podcast comprises noisy, brutal sounds, broken beats, industrial sounds, stomping rhythms, monotone sequencies, atmospheric ambient, dub-influenced tunes, funky grooves, electro beats, live jams, and experimental excursions with an electroacoustic touch. It’s all there.
3. The avoidance of song structures make layering possible.
The single tracks become the basic material for a bigger structure, they can be considered as threads woven into a fabric that can fill the whole room.
01. Thomas Köner -The Weary Seer [Krake 001]
02. Erika – Tunneling [Interdimensional Transmissions 30]
03. Zeitgeber – Body Out [Stroboscopic Artefacts 018]
04. Diamond Version – When Performance Matters [Mute Artists Limited 12DVMUTE4]
05. Cassegrain – Serpent [Krake 001]
06. Ynaktera – grid_01 [Stochastic Resonance 01]
07. Synus0006 – Galaktika [B4CK6ROUNDNO1SE XX9]
08. Luigi Acidmachine – Planned Obsolescence [Cannibald 030]
09. Stanislav Tolkachev – Depth Of Light [M_Rec Ltd Grey Series 04]
10. Ray Kajioka – Fly [Kanzleramt 158]
11. David Meiser – Pursuing My Way [Sonntag Morgen 025]
12. Ad.Lib – She Lost Control / Rebekah Remix [Berlin Consumer 002]
13. Dadub – Syncronic Pattern [Krake 001]
14. SNTS – S4 [SNTS 02]
15. Traversable Wormhole – Negative Energy Density [CLR CD012]
16. Tim Exile – It’s Dark In Here But I Still Love You [Krake 001]
17. Headless Horseman – Decapitation [Headless Horseman 002]
18. Monya – Panik [Berlin Consumer 001]
19. Tracy – Panorama [C.R.S. 025.5]
20. Psyk – Intern [Mote Evolver 035]
21. Diamond Version – Live Young [Mute Artists Limited 12DVMUTE4]
22. Erika – North Hex / Orphx Mix [Interdimensional Transmissions 31]
23. Splinter – Splinter [UTurn 19]
24. Kangding Ray – Nuis Octury [Stroboscopic Artefacts 017]
25. Mystica Tribe – Zen Stone [Syncom Data 29]
26. NX1 – NX1 05 013 [NX1 05]
27. Maps and Diagrams – Last Men On Earth / Ran Slavin Remix [False Industries 009]
28. Monya – Burnout [Berlin Consumer 001]
29. Elektrabel – Desaft [Subsist 16]
30. Samuli Kemppi – Less Than Planck [M_Rec Ltd 17]
31. Perc – Work Softer / Desonanz Remix [Prosthetic Pressings 037]
32. Roberto Figus – Galaxy part II / Dubver Rework [Etichetta Nera 021]
33. Beat Pharmacy – Magic And Luck [Throne Of Blood 35]
34. Hironori Takahashi – Jazert [Informa 006]
35. Aksutique – Echolot [Diametric UK 16]
36. Markus Suckut – Vibrant [Figure CD01]
37. Mystica Tribe – Flowers [Syncom Data 27]
38. Psyk – Arcade [Mote Evolver 035]
39. Urbano – Tight [Decoy 003]
40. Somaticae – The Leviathan [In Paradisum 010]
41. Ynaktera – orion_sect1 [Stochastic Resonance 01]
Class is in session.
In private correspondence, Electric Indigo also started to add a comment – but warns this is a “theory in progress.” That to me makes it more interesting, and perhaps material for discussion, so let’s take it as one artist thinking out loud — and see what you think. -Ed.
I was just thinking about your request to write something about the artists and labels… apart from the usual remarks like underground techno is very alive and Berlin is an important center, etc. I think that the most interesting phenomenon is the emergence of Italian and Spanish artists who make a kind of dance music that could be labeled “dystopian” … Does this have a connection to the political situation in Southern Europe?? Well, maybe not at all. Anyway, examples here:
one half of Zeitgeber
The post Deliciously Dark: Free Mix from Austria’s Houztekk, Electric Indigo, and Why the Music Matters appeared first on Create Digital Music.
Out this week is a new full-length from The Black Dog. The Sheffield, England-based trio – Ken Downie, Martin Dust, Richard Dust – have been making smart, non-boring electronic music for ages. (Let’s not utter “IDM” – but “smart” fits.) From Warp to Ostgut Ton, they’ve been an indelible and irreplaceable part of the creative landscape.
What strikes me about Tranklements is its effusive economy and clarity. In a time when music is regularly dripping with reverb or smothered in gauzy effects and nostalgia, this is a record that stands apart from any particular time, dry and direct and witty. Each track is a separate “object” according to the band, but what makes that work is a forward sense of personality in each. The highlights above are almost a work on their own; the full release is rather a must-have this year, I think.
(Tomorrow, you can watch a live broadcast on Electronic Supper Club celebrating the release.)
There’s also a spookily-beautiful video with collaborator Shaun Bloodworth:
The notion of “objects” comes from their own description of the record:
The Black Dog have been gathering their thoughts, passions and anger, reflecting it into their music, sometimes as part of a larger picture or concept, sometimes just focusing on one subject.
“Tranklements is such a great Sheffield word, it means a collection of objects, often precious to the owner. Everyone has a collection of Tranklements somewhere! These are ours.
Tranklements is a body of work created as 16 unique and individual tracks. Each one is its own little object, something we’ve created to externalise, explain and express the world we find ourselves in. It encompasses many thoughts, emotions and desires from the last eighteen months. There is an individual story and internal message behind each. They’ve all been discussed and fought for. However, we really don’t want to explain them, we don’t expect those personal rationals to translate to others. We’d rather you gazed upon the objects yourself and come to your own conclusions. Nobody likes to be told what to think.
In many ways our work with the eSC (www.electronicsupperclub.tv) project has helped us to reconnect with many things and each other. The creative talent and desires of the younger generation have never gone away. The real underground is still as vibrant as ever, not lost to false values, over-sized egos and ladder climbing brands. We’ve always respected that energy and individuality that exists beyond the bland compliant mainstream.
The truth is we’ve always felt like the awkward outsiders.”
Available to pre-order now at DustStore.com:
* Limited edition, only 300 units
* 3 x 12″ on heavy weight 180gsm vinyl
* Free digital download of the album from DustStoreDigital.com
* Two free bonus tracks as digital downloads exclusive to DustStore.com
But if you want still more to hear after the release, their Dark Wave mixes are a must. The latest includes two artists we’ve admired here in Berlin – friend of the site Noah Pred and (on his way through town) Ital Tek – among many others. Full listing, nicely tracing some of the connections in the scene right now:
The Black Dog – Dark Wave 10
00. Coil – Teenage Lightning (Surgeon remix) – CDR
01. Function – Voiceprint – Ostgut Ton
02. The Black Dog – Broken Mind – Dust Science
03. Benjamin Damage – Delirium Tremens (tBd Headkicker Remix) – 50 Weapons
04. Noah Pred – Loss For Words (Hrdvsion Boomboom Mix) – Thoughtless Music
05. Lucy – Finnegan (Pariah Remix) – Curle Recordings
06. The Black Dog – Cracked – Dust Science
07. Tripeo – Untitled #4 – Tripeo
08. Trade – Half Nelson – Works The Long Nights
09. Shape Worship- Quilt 2 – Exotic Plylon Records
10. Ital Tek- Hyper Real – Civil Music
11. Tripeo – Untitled #3 – Tripeo
12. Shifted – Trouble – Mote Evolver
13. Inigo Kennedy – Chamber – Token Records
14. The Black Dog – Council Flat Emptiness (LB Dub Corp) – Unterton
Who said music was stagnating? Listen.
Yes, sirs. Thanks.
The post New Music From Sheffield’s The Black Dog: Focused, Finely-Honed Objects [Stream, Video, Mix] appeared first on Create Digital Music.
That window between science fiction and actual interfaces continues to narrow. Here, virtual hands paw at geometric orbs to produce sound, with simultaneous 3D visuals as accompaniment, in the latest artist/hacker experiment. You can thank the popular and surprisingly-accessible game engine, Unity – which recently added free deployment to mobiles, by the way. Description:
This is our first Kinect-controlled, virtual reality experiment, using the greatly anticipated Oculus Rift.
It’s a simple virtual reality environment built in Unity 3D with our own interactive framework. It allows us to use the Kinect to trigger two audio loops and apply basic effects using Max/MSP.
This is the start of a project that will evolve into installation artworks as well as become a part of our performances.
For more information on our work:
And you can expect a lot more of this, because Microsoft has a new Kinect. Part of Xbox One, the upgraded 3D camera now features smarter camera detection to differentiate people from one another, from objects, and even individual fingers or facial gestures. The result is something that, as I write on Create Digital Motion, gets closer to intuitive physical movement:
Wired takes a look:
And here’s what that Kinect looks like, courtesy Microsoft. We’ll be eager to hear more about gestural tracking, latency, and hackability – and how this stacks up to Leap Motion for music apps.
The post Lawnmower Man-Style Audiovisuals, in Kinect Experiment, Plus a New Kinect appeared first on Create Digital Music.