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The post Popof and Animal and Me – Going Back feat. Arno Joey (Hot Creations) appeared first on Knights Of The Turntable.
As promised, Gruuv continues their endless quest to invade our eardrums with another release celebrating 5 Years of Gruuv. Number four of the six planned releases is just as superior as its predecessors, with a little help from the likes of David Pher, Tuccillo, AudioJack, Kevin Knapp, Paul C and Paolo Martini.
David Pher kicks things off with ‘Wild Eyes’, a boisterous foot tapper that is strangely yet perfectly paired with the famous ballad ‘La Belle Dame Sans Merci’. Tuccillo turns things up a notch with a sexy bassline and splashing high hats before tagging in the one-two punch of Audiojack and Kevin Knapp with the standout track of the release. ‘On the Record’ is a deep and dark tech cut that penetrates your spine, finding that funky sweet spot that makes you want to dance. Paul C & Paolo Maritni team up to close things out with ‘Big Black Car’, using a crunchy synth woven into a groove that will have you nodding your head so hard it may cause neck pain in the days following.
It looks like what you’d want to wear if you were invited to a dinner party … with Sun Ra and his Arkestra.
It lights up and responds as though you’re about to guest star on a Japanese TV show about a trans-dimensional space princess.
But then… it starts making music. And the wild whimsy of the Chromehatic turns into a sultry set piece for a pitch-perfect performance by vocalist FEMME, celebrated London-based performer/producer.
As for the headpiece itself, it launches a line entitled SENSEries, pairing milliner/couture designer Jodie Cartman (whose work has shown up on the brow of Morcheeba with crewdson, aka London’s Hugh Jones, an instrument builder and musician.
I love that the aesthetic of the headpiece, the interaction, the music, and the performance all fuse together. So, it’s a MIDI controller – it could be anything – but there’s a singular statement of style.
The video debuts on The 405, which sounds like the name of a California freeway, but is actually a UK culture site and event platform.
A lot of “wearable tech” amounts to sewing a few LEDs in a jean jacket – not that there’s anything wrong with that, but it’s nice to see someone get the whole package together.
And Femme, by the way, seems to me a really talented singer.
#millinery on CDM … your move, next.
The post When Milliner, Musician Collaborate, You Get This Crazy Music Hat appeared first on Create Digital Music.
On some deeper level, maybe it doesn’t matter how something repeats – whether it’s looped in a pedal, looped in software, or simply repeated by a human player, for instance.
On another level, given just how much repetition matters to music, maybe that’s why we care so much about how it’s accomplished.
Ableton this week released a visit to New York’s experimental rock trio Battles, in a film and interview under the header “The Art of Repetition.”
There, we get to learn more about the process behind Battles’ dense, hypnotic sound. The film is a bit long, but there are some telling moments.
Best quote: “Sometimes people ask if we use a click but we don’t. It’s just music.”
In the ensemble, both looping hardware and software feature prominently – what the band calls “computerness and pedal-land.” In “pedal-land,” bass/guitar player Dave Konopka makes heavy use of Electro-Harmonix gear from hometown NYC (see our recent story and accompanying comments on that topic), plus Line 6 and Boss units and the Gibson Echoplex. There, process is a physical chain of units – he’s capturing and “rephotographing” sound with individual pedals. (The EHX Freeze Sound Retainer is a nice snapshot tool.)
For guitarist, keyboardist, and Ableton Push instrumentalist Ian Williams, who’s naturally in Ableton’s spotlight, all that process is effectively digital. (I notice he’s got the Universal Audio Apollo Twin as interface, as well; I was recently singing the praises of the ability to do DSP live onstage.) The same relationships take place in software instead of being physically cabled between gear.
That said, I find it interesting that the recording process for the band involves a lot of “real-for-real” miking of amps and the like.
A lot of the video focuses purely on the compositional process. It’s also noteworthy to see Ian’s approach to Push. Now, to me, one disadvantage of Push is that you lose everything you’ve learned in terms of muscle memory and the sound you produce. But Ian argues that’s a feature, not a bug. “It keeps it kind of strange – that’s the key,” he says, and accordingly shows off Push chops as a way of getting past habits directly to “just listening” as you play. He also uses his multi-instrumentalist approach to make the keyboard sound more like a guitar, guitar more like a keyboard.
I’m fascinated by the way bands use laptops onstage. The reality is, I think we’re all so used to laptops that they aren’t the obstacle they once were – for audience or artist. It comes down not to a philosophical choice so much as an implementation choice, and you should definitely do whatever makes you feel most comfortable. Here, it’s nice to see both working.
Also – duct tape on headphones and beds in the studio. You know it.
Enjoy, by way of dessert, the lovely “My Machines” video.
Battles is on Warp Records, so you get a nice connection between the world of the rock band and Ableton’s experimental electronic roots.
The post Watch Battles Reflect on Loops, Ableton in a Live Band Setting appeared first on Create Digital Music.
A California based group called Compassionate and Respectful Engagement Squad aka C.A.R.E Squad has been spearheading projects aimed at “facilitating safe and respectful interactions in social and nightlife settings” for nearly 3 years, but its most recent strategy may be one of its most effective yet.
By highlighting the all-too-common harassment risk female festival and club goers are subject to, the group began handing out anti rape business cards at Los Angeles’ Woogie Weekend event. Images immediately started surfacing via Instagram of a business like card featuring, on the backside, the rules on consent, and on the front side, a simple message that begins: “Consent is sexy. Please leave me alone.”
A few months ago Mixmag published an article where its author Chantelle Fiddy wrote: “This [harassment] is something that goes on throughout club culture, top to bottom; from commercial big rooms to dim-lit underground parties. It happens so often that women are made to feel like it’s part of a normal night out; there’s a sense that complaining is futile, and we should all just wince and bear it,” highlighting the harassment women routinely face when attending such events. Fiddy went on to say, “if women can’t even achieve respect on the dancefloor, how is club culture ever going to change?”
Hopefully with such initiatives as from C.A.R.E. Squad our scene can move past its issues of objectification, harassment, and rape, and move into the a consent and respect based trend.
The post Anti Rape Business Cards Handed Out At US Festival appeared first on Deep House Amsterdam.