The Winter Social is a boutique music festival showcasing a selection of a handful of top quality dance music acts in the idyllic setting of the Kent County Showground in Maidstone, Kent, UK. Presenting their mix for the occasion a duo from UK, Eli & Fur.
Located a stones throw away from London at the beautiful Kent County Showground, the venue captures the great outdoors, and an intimacy among its raw Warehouse space that sets the atmosphere for the one-dayer. The festival is brought together by Saved Records, the independent music label of house and techno DJ Nic Fanciulli, who among of the other finest comrades from UK and other world renowned guest DJ’s are preparing a real deal for this second edition of The Social.
Recently the organisers dropped the 3rd and final phase for the Winter Social line-up, which is looking promising for those with a knack for some serious scene leaders. This edition of the festival is bringing longstanding acts, such as Kompakt‘s head Adam Beyer, Innervision’sAme, the immense Maya Jane Coles, Guy Gerber, whose Rumors series in Ibiza got great appreciations this summer, Holland’s finest Joris Voorn.
Alongside the latter, a few of names, rising to its worldwide recognition, including UK’s Eli & Fur. Since breaking onto the scene in 2012, Eli & Fur are known for their captivating sets, which have seen the duo playing next to the likes of Maceo Plex, Hot Since 82 and Dusky. To know what to be expected, the ladies brought together a strong party kicking bouncing mix, that we are happy to share.
Record label/ ‘ménage à trois’, Studio Barnhus, consists of three wackers from Sweden Kornél Kovács, Axel Boman and Petter Nordkvist. With only the latter being slightly more serious than the rest. Seemingly not taking anything except beat matching has been working more than well for these guys. Right before their label night at Studio 80 this Friday we had a session of 13 serious questions and zero serious answers.
Studio Barnhus: boys born in the Scandinavian orphanage bonded by the love of music and hatred towards the stupid nuns. That was just one of the descriptions they have written about the trio. Studio Barnhus consists of the three: Alex, Petter and Kornél. It’s a record label as well as the umbrella name for what happens when the three play together, but it started out as (and continues to be) their studio home in Stockholm.
Axel Boman, an art school grad and the man behind ‘Purple Drank’, defined by his playful, trippy, banging house with a good sense of humor. His confidant Kornél Kovács, who scored the brand new insta-anthem ‘Szikra’, brings a half a lifetime’s dedication to dance music, club culture and funkying around. Petter Nordkvist’s mixes and productions are known for fusing together techno, electro, dub, ambient, acid, breaks and deep house in his own unique style.
Your studio, the one you all started at, the one that should still have the “really powerful” explosions due to a new tunnel under the city being built, the ones that should be happening till 2016, are you still all working there?
Yes, we are still in the same place, but as a compensation the railroad company decided to connect our studio with the massive complex of tunnels beneath the city, so now we have instant access to the metro station and really creepy tunnel people knocking on our door at random times.
In one interview you mentioned the transition from one long table and a seat at it for each of you, to each one having a wall for himself. That was in 2011. How has that changed so far? And in which ways do you see Studio Barnhus growing now?
We tried to have separate spaces but it didnt work out so now we are back at using one table but having Petter work beneath it, connecting chords and giving us foot rubs, it’s awesome! We want to become a real professional label now that sells merchandise and stuff, that’s the future!
You put a great deal of experimentation in your samples, what have been the most “exotic” explorations in your sample collections?
It’s always an adventure to put on music from the country of Africa. That place is just nuts – it’s like they don’t even have drum machines!
Kornél, what was the reason you made the temporary move for the Radio Koko to Numbers?
That situation with Numbers was just an old gambling debt being settled and Kornél is doing much better now. He hasn’t been to the casino in weeks!
You all participated at the Red Bull Music Academy? How was the experience and what have been your pivotal lessons in producing in general?
We have tried all kinds of beverages but the only one responding to BPM is Red Bull!
We have got to talk about Baba Stiltz’s “Cherry”! Where and how did you find him? When did you start working together?
Baba was dancing at the ballet academy that Kornél’s father runs here in Stockholm. One day Papa Kovács thought Baba was falling behind on his pirouette technique so he kicked Baba right on the shin, ending the young boy’s ballet career with one fatal blow. We felt sorry for the kid and invited him into the Studio Barnhus family. The rest is history!
Do you have a lot to do with the productions of the artists releasing under your label?
Yes, we always tell them: more and sharper hi-hats! Like this: ch-ch-ch-ch-ch-ch-ch-ch! And then one week later: no, now it’s too much, bring it down! Haha, dance for us, stupid hi-hat monkey!
Your images, interviews, bios even press pics not are open about not taking stuff seriously. Two questions arrive from here. Is there anything you do you take seriously? And would you share your best memory altogether?
OK, so we take beat matching seriously and our realest shared memory is taking the train to Örebro last year, to see Swedish rock poet Bruno K. Öijer’s floor show.
What do you appreciate most in other producers?
Good producers come in all shapes and colours but it’s generally good if they are Lukas Nystrand von Unge.
Could you say what is about you three that is different from each other when you play?
Not a lot, really. Maybe Petter is just a little bit better than the other two guys.
December last year you had your night in Trouw. That was one of the last nights of the club in general. How was it?
It was definitely the most nu-metal influenced Studio Barnhus gig ever, thanks to our label manager Olle’s epic skills on the drum set.
What have you planned and how are you preparing for the upcoming label’s party in Studio 80 in Amsterdam?
We are gonna rock the party, you know it! Time to get super crazy in the club for sure! Hopefully we are famous enough to fill the venue and from there on it’s just easy.
Which have been your favourite releases under Studio Barnhus this year?
The Japan only 7” that we’re bringing over there in a month. It’s the first record to feature all three of us since BARN 001!
Next up at Monday Social, Long time friend, producer and dj extraordinaire, Pleasurekraft who has been on the top of the international Tech House scene for many years now. Also credited as one of Beatport‘s all time best selling artists, this is a night of tough beats that you definitely don’t want to miss!
Join us this Monday for another chapter in the MNS history books that will no doubt be any exception to this deep rooted bloodline! With monster hits like “Tarantula”, “All Bite, No Bark”, “Genedefekt” and the a remix of Green Velvet’s classic “La La Land” it’s no surprise that Pleasurekraft is credited as being one of the best acts to come out of the US!
The dynamic duo is nothing short of amazing when it comes to studio productions and an absolute monster when handling the dance floor. In the half a dozen times playing at Monday social there has never been a dull moment. Always electrifying the crowd with a cutting edge sound and whisking the night away on an eargasmic journey.. Join us this Monday December 23rd for what is sure to be another twisted night of musical genius featuring Pleasurekraft.
Having cautioned DJs and producers using Macs about a month and a half ago against upgrading to OS X 10.11.1 (El Capitan), Native Instruments has announced today that the issues are resolved.
The primary issue with the 10.11 software update included major kernel panics when using older NI devices, like S4/X1 MK1s, Maschine MK1s, Audio 8/4/2 DJs, and Rig Kontrol 3s. New version 2.8.0 drivers available here have fixed that issue. There also were issues with NI Audio Units (like Maschine, Massive, and Reaktor) completely not working in DAWs like Logic.
Serato DJ and Rekordbox users should continue to refrain from upgrading their operating systems as both Serato and Pioneer have released statements that their softwares currently experience major issues on El Capitan. For Serato users, the new update often manifests in issues with the hardware drivers – we’ve seen reports of controllers not working, mixers not unlocking the full version of the software, etc.
On Rekordbox, the issues are much more contained to the new Rekordbox DJ performance section – potentially disabling the DJ features entirely and invalidating the license. Dangerous!
As always, if you’re a DJ who plays out regularly, we recommend not updating your operating system until all of the software and digital hardware tools you use have been verified as working by the manufacturer.
Five years ago this month, CDM unveiled the MeeBlip project. It was a chance to put our love of synthesizers into a physical form we could share. And we had no idea where it would take us.
Five years later, we’ve sold thousands of the musical instruments, all engineered by their creator James Grahame in Calgary, and all fully open source. In that time, we’ve also worked hard to make the MeeBlip constantly better, and easier for more people to get their hands on and use. Today, we celebrate five years, and what we think is our best MeeBlip yet. We’re also lowering the price.
The newest MeeBlip anode includes all the features the anode has brought (and that has won rave reviews from the likes of Sound on Sound, Keyboard, and Resident Advisor). That includes its edgy bass sound and analog filter, plus updated features like hands-on control of filter and amplitude envelope, improvements to filter performance, and different built-in wavetables for a wide variety of sound possibilities.
Now, we’re making a permanent price reduction on anode to US$119.95. We’re also offering free shipping to the USA and Canada and discounted shipping worldwide, in celebration of five years of MeeBlip.
(We’ll also soon have something to announce for European customers wanting faster shipping and all taxes and duty included.)
We’re just getting started. We’ve learned a lot in those five years, and that’s given us ideas for how we can do everything we do a bit better. So thanks for staying with us, and stay tuned for more.
In the meantime, here’s a look back…
The anode is the second major MeeBlip model. Here are three variations together: the SE generation, the original anode, and the special edition anode with wavetables.
The very first MeeBlip had a quirky faceplate designed by Tasmanian designer Nathanael Jeanneret. If you’ve got one of these, they’re pretty rare.
Building on the simple, hackable, open nature of the instrument, projects over the years have included all sorts of fanciful designs. Gwydion ap Dafydd of Konkreet Labs even placed one inside a cookbook:
And then came anode. The goal was to design a MeeBlip that was smaller and had fewer knobs – but felt like it had greater, richer sound potential. That meant lots of attention to how parameters were designed, so that each knob turn was satisfying. And we’ve been pleased that reviews from users and press understood and appreciated what we worked on.
But in the end, this is a personal journey. James and I have learned that making instruments means discovering what musicians can do with devices you imagine. The goal is to create objects that become something more than what we can do on our own. That’s why we’ve stayed with it, and why we’ll keep staying with it. So the best part of this job, without question, is seeing what people do – and hearing the results.
There are many examples like that, like this all-anode track produced by Andrius Mamontovas.
We could use your help. Let us know what you think of what we’re doing, and what we can do to do it better. And if you like the MeeBlip, help us spread the word, and get synthesizers in more hands.
MeeBlip anode is in stock and shipping worldwide right now.
Techno has become folk art, popular music idiom. Yet it’s still often viewed through the machines that first made it. What if you could give it some sort of physical, mechanical form?
That’s what Graham Dunning has done with Mechanical Techno. And in a new video (produced by Michael Forrest), he shows how it’s done.
Cut-up records on turntables stand in for samples and synths. Electrical contacts produce buzzes of sound as wires touch copper. Cowbells become kinetic, robotic sculptural elements.
Basically, every rhythmic element is mapped into physical space, into locations on discs.
Oh yeah, and be sure to enjoy what happens at the end as optical sensors go nuts with additional objects.
It’s like what would happen if you commission Rube Goldberg to build your new music studio, or if we entered an alternate universe where Roland never existed but the pianola was adapted to make dance music.
And, incidentally, even the modern drum machine really does have similar mechanical results. See Darsha Hewitt’s SideMan 5000 video Project. The world’s first commercial drum machine, while hardly a huge success, itself used mechanical discs to generate rhythms – very much related to what you see here.
I like to say that the repetitive patterns in techno are related to physical motion in the body, perhaps even the body’s internal rhythms. But here is another way to imagine it – that these rhythms can emerge from real or hypothetical physical processes. The musical is mechanical.
This project was a research project; details:
Mechanical Techno Demonstration by Graham Dunning
Video produced by Michael Forrest.