We have a huge episode lined up for this week! Not only do you get Digitalchild and myself spinning the latest releases, but we also have an exclusive mix by Mark Pledger. To top it off we also have an interview with the man himself coming your way. Don’t miss this one!
The group that pioneered mainstream break dancing in the seventies is back thanks to Space Ibiza resident Jay C. Taking to the 1983 hit ‘Hey You’ and reworking it for a new century. The Radio Edit is unashamedly fun retaining much of the feel of the original, while the original of this remix is where you see most of Jay C’s handiwork.
I found the Beat Freaks mix a little weak but there is also a Beat Freaks dub that could make for some interesting live remixing. Martin ten Velden’s remix strays further from the original but benefits from a bit more tempo and a thick bouncing bassline. Friendly’s earlier work was a personal favourite of mine so it’s no surprise that his remix is also my favourite from this bunch. The dark electro elements balance out the classic vocal sampling for an intriguing ride.
Available June 7 on Nebula or tune into DanceNode Radio this week for a preview.
Ardour is a fully-featured digital audio workstation, similar to other software like ProTools, Nuendo, Sonar and Logic, and capable of replacing analog or digital tape systems.
Because Ardour uses JACK, it doesn’t interact directly with audio hardware at all. This means that Ardour will run with any hardware supported by JACK, or even with no audio interface at all (not so odd when you think about audio render farms using modern networks to move audio instead of audio cables). So when the day comes that you decide to upgrade your analog/digital converters to an Apogee unit (after remortgaging your house, obviously), or when you find yourself forced to use a consumer stereo interface, Ardour will just keep on working.
JACK itself is generally used with the ALSA on Linux or CoreAudio on Mac OS X, and so supported hardware is dependent on those systems. Here is a brief survey of some of the high and low end cards supported by ALSA. A more complete list is available.
Audio
In conjunction with its support for a wide range of audio hardware, Ardour offers you sample rate neutral facilities (ie. any sample rate is supported to the extent of your hardware’s capabilities). All sample data is maintained internally in 32 bit floating point format for maximum headroom and fidelity. Native file format is industry standard IEEE 32 bit floating point Broadcast WAVE or WAVE. Play or record any number of tracks with bit-perfect quality (what comes in is what goes out). Import from (or export to) more than 30 different audio file formats, using Ardour’s builtin audio file database manager with free-form fields or directly from an ordinary file browser.
Mixing
Providing seamless operation with any supported hardware, Ardour’s 32 bit floating point mixer offers endless headroom and guaranteed bit-for-bit fidelity for 24 bit samples. There are no hidden filters anywhere in Ardour’s mixer - what you record is what you hear, unless you choose otherwise. Within ardour’s two primary windows, you have a superb system for audio production, including the most flexible mixer architecture in the industry, total automation and a large selection of plugins. Ardour doesn’t come with any builtin EQ or dynamics, leaving you free to use your choice of any of the numerous available plugins without having to bypass the builtin system. You can mix any number of tracks that your hardware can handle, and you can use both MMC and generic MIDI control surfaces to manage the mix without developing wrist injuries or despising your laptop touchpad. And of course, all your settings are saved between work session, so all automation, mixer, routing, and effects settings return to precisely where you left them.
Editing
At the present, most DAWs are converging on a fairly common set of editing features, and Ardour is no different in this respect. Even so, we believe that in time, Ardour’s editing capabilities will become the new standard for DAWs. Within the edit window, you can adjust everything about your session and its timeline layout, all with sample-level resolution. Trim regions, crossfade by dragging, timestretch useful samples, split and regroup audio, move non-contiguous selections around, identify and use song chunks as you wish. Edit automation data in their own tracks. Unlimited undo/redo should encourage you to try out your ideas without fear, especially with a snapshot facility to store interesting or useful versions of the session.
Plugins
Ardour relies on plugins to enable many features from FX processing to dynamics control. At this time, Ardour supports the LADSPA plugin API, developed by the Linux Audio Developers community. To use a plugin, just add it to the track (pre- or post-fader, of course), and then open its editor with a single mouse click. Edit the settings, store/load presets, and automate any of its parameters. LADSPA currently offers more than 100 plugins, all of them open source software, ranging from simple filters to vinyl degradation simulators, analog flangers and multiband EQs.
Compatibility
Unlike every other DAW available, Ardour is open source. This means that anyone can read the “source code” to the program to find out exactly how, when and why it does certain things. It’s this openness that allowed the first port of Ardour to Mac OS X to be carried out by someone previously uninvolved with the Ardour project. It’s also this openness that ensures that Ardour’s existence does not depend upon the continued involvement or solvency of its creators. It’s this openness that allows Ardour to be built to run on many different computer platforms, and that will ensure that support for it is available from many sources.
At the same time, Ardour adheres to as many standards as possible in its operations and capabilities. Whether its SMPTE/MTC for timecode, Broadcast WAVE or WAVE as a native file format, MMC for remote control of its transport system, or XML as the data format for its session files, Ardour doesn’t try to hide its technology or design as part of an attempt to earn more money.
Mastering
Ardour is not just a recorder, editor and mixer, but can also be used to master your project all the way to its final form. This is not just because of its editing capabilities or the available plugins, but because its integration into JACK makes the use of mastering tools like JAMin a breeze. Ardour also permits bouncing to disk via outboard gear, thus enabling even more possibilities for balancing the tonal qualities of your session. And because it uses standard audio file formats and can export to many others, there are many fine custom tools available to handle conversion into specialized formats such as MP3, Ogg Vorbis and others.
Refernces: http://ardour.org/
Each mi Jam Mini is a pocket sized music maker that lets you play it on its own, or jam along with your music, your way. There are 4 styles of mi Jam Minis, and each one represents a specific musical instrument. Each one works as a standalone instrument with built in rhythms or as an accompanying instrument when used with an iPod, MP3 player or other portable music device.
The mi Jam Minis are extremely versatile and each one even has its own tempo and volume control. You’ll be surprised what fun they are and how quickly you will become proficient at playing them…best of all…they fit right in your pocket so you’ll always have them with you.
Each mi Jam Mini can be played using headphones or with external speakers.
The mi Jam Mini Drumpad has icons for snare drums, bass drum, tom tom and cymbals In standalone mode you can just turn it on, plug in your headphones or external speaker, activate the built-in rhythm, set the tempo and volume and tap away at the icons with your fingertips to create your own sound. Or plug in your music device and play along with your favorite music…either way ..its your music ..your way.
The mi Jam Mini Keyz is a miniature keyboard with key icons. It can also be played as a standalone keyboard or with a music device. Just turn it on, select the built rhythm, tempo and volume and tap the keys to create your masterpiece. Or plug in your music device and play along with that.
The mi Jam Mini Guitar is a mini guitar which plays riffs and chords. Each sound is built-in and like the other mi Jam Minis. The guitar can be played standalone or with a music device. The mi Jam Mini Guitar is played by placing a finger on the mini fret board and then strumming the strum bar to produce a sound…the strum bar works in two directions and can play a chord or a riff.
Last but not least is the mi Jam Mini Mixer. This is a super DJ mixer right in your pocket with a range of built in sound effects. Just like the other mi Jam Minis, the Mixer can be played on its own or with a music device and with headphones or external speakers. The mi Jam Mini Mixer is played by switching it one, selecting the effects and the scratching the two discs in either direction with your thumbs or fingertips.
References: http://www.b2stuf.com/
CamelSpace can take any sound you throw at it ” be it a pad, a synth line or a drum loop ” and generate a dizzying array of dynamically-evolving, gated rhythmic textures.
An enormously powerful 128-step ‘trance gate’ sequencer controls panning, filter cut-off and volume, while independent LFOs provide still more mind-boggling modulation options.
A tempo-synced stereo delay and powerful auto-panner ensure that your sounds are always on the move, while an enhancer (with ‘Xcita’ and soft saturation), a flanger and a high-quality reverb all add ’sparkle’.
stunning graphical user interface puts all the controls at your fingertips, while the X/Y pad allows easy real-time manipulation of the most important parameters.
With the intelligent ‘Randomize’ button, new sounds and inspiration are just a click away. 128 attention-grabbing presets, organised by category, are also included. Find out more in the easy-to-read manual.
Feature highlights:
References: http://www.camelaudio.com/
From Norwegian contemporary disco producer and Feedity Recordings owner Hans-Peter Lindstrom comes the newest CD in Azuli’s long running “Late Night Tales” series.
Lindstrom was raised in the country side and grew up listening to Gospel, Western and Rock music. It was only a couple years back he ventured into the world of electronica and the rest is written. Going solo and making the hit ‘I Feel Space’ or teaming up with Prins Thomas to create a slew of releases, Lindstrom has come a long way in a short time.
“Late Night Tales” offers a chill out compilation featuring some classic rock, folk, funk and a cover of Vangelis’ ‘Let It Happen’ by Lindstrom. Previous tale tellers include Groove Armada, Jamiroquai, Four Tet, Air and other.
“Late Night Tales �” Lindstrom” will be released on July 9th.
Taken from http://www.higher-frequency.com
Tracklist:
01. Alf Emil Eik / To You
02. Fern Kinney / Baby Let Me Kiss You
03. Gina X Performance / Kaddish
04. Sly & The Family Stone / In Time (Album Version) (Clean Version)
05. Carly Simon / Why
06. Todd Rundgren / Born To Synthesize
07. George Duke / North Beach
08. Dominique Leone / Conversations
09. Anja Garbarek / I Wont Hurt You
10. Rainer Bloss / Pan Americana
11. Terje & Thomas / Regnbagan
12. Jean-Philippe Goude / Energie
13. Smash Band / Grand Drums
14. Farah / Law Of Life
15. Lindstrom / Let It Happen (exclusive Vangelis Cover Version)
16. Dusty Springfield / Baby Blue
17. Pekka Pohjola / Pressure
18. The Lovin’ Spoonful / Coconut Grove
References: http://www.azuli.com/, http://www.myspace.com/feedelity
After highly successful forays into both Greece and the Netherlands, the third installment of Audio Therapy’s ‘Across Borders‘ series now turns it’s attention to the evergreen hotbed of house music production talent that is Italy.
Always at the forefront of the house music since the explosion of the late 80’s and has been well represented throughout the evolution of the scene right through to the current day.
The sheer amount of artists/Dj’s and producers we were able to approach for this CD was rather overwhelming to say the least but we were not daunted in our quest. We have included exclusive music from the true Italian Masters of Joe T Vannelli and Claudio Coccoluto along with other renowned names such as Dino Lenny, Santos and Francesco Farfa to the more recent names of differentGear, Daniele Tignino and Alex Dolby as well as the young blood of Nufrequency and Niki B & Christian E.F.F.E.
As with the previous releases the DJ Friendly CD will be unmixed and feature all 10 tracks in their full glory with a digital only version mixed by Dino Lenny to go online on the same date. There will also be a very limited edition vinyl sampler featuring 4 of our favourite tracks.
Tracklist:
1. Coc & Pat - Lost in a Nu World
2. Different Gear - I want to do sex on you
3. Nufrequency - Buy Me (Dub Mix)
4. Tignino & Leo - Standing in the Light
5. Niki B & Christian E.F.F.E - Twin
6. Francesco Farfa - Acidazzo (2007 Mix)
7. Santos - This Time
8. Alex Dolby - Prodax
9. Dino da Cassino - Don’t You (Forget About Me) (Mad8 Breakfast Dub)
10. Joe T Vanelli - Get (Instrumental Attack)
References: http://www.myspace.com/audiotherapyonline, http://www.therapymusic.co.uk/
The time has come. Oliver Koletzki, whose career was kick-started in 2005 when Sven Väth picked up his tune “Mückenschwarm” for a re-release on his imprint Cocoon, is finally getting out his debut album “Get Wasted” in May this year.
Koletzki has been hailed for his euphoric new German techno sound releasing tracks on his own two labels Stil vor Talent and Flash Recordings as well as doing numerous remixes and productions for artists as diverse as Client, Rockers Hifi, Oliver Huntemann, The Egg, Karri O, Daso, Lützenkirchen or Cassius. From dreamy minimal to stomping dance floor hits, Koletzki has got it all. Just like this album.
After one and a half years of work between gigs all around the world “Get Wasted” is now being released on Olivers own label Stil vor Talent, which means: no compromising. This is 150% Koletzki. You can hear Oliver’s unique signature sound in all 11 tracks of the album. Additionally, Oliver sat down with many befriended artists like his partner in crime Florian Meindl, his Bpitch Control buddy Kiki, Ziggy Kinder and Kling Klong label owner Martin Eyerer to produce this diverse album.
The album opens with “When We Were Young”, a natural hit building up with a catchy guitar sample until the euphoric loop kicks in. From there he moves on to more techy sounds. “Dieses Lied glaubt an sich” is a housy pusher with chopped-up vocals and a huge sample that is bathing in a wonderful breakdown. After that it’s straight down to business with title track “Get Wasted Part 1″ that has been produced by no one else than Martin Eyerer himself. Rare, but nonetheless fulfilling, Oliver adds some vocals to this delirious funk-monster. Listen up! Also, together with Martin Eyerer Oliver produced the bonus track “Meniskus” which is featured exclusively on the CD version of the album: a trippily jumping minimal track with a hefty subbass.
Working together with Bpitch Control artist Kiki, Oliver has created what could easily be the strongest track of the album: “Don’t forget to go home” is a hypnotic minimal masterpiece and combines the best of the two producers. Kikis effect-laden beats and Olivers memorable melodies are a perfect addition and when the subbass kicks in on the breakdown, you know why Koletzki decided to work with his buddy from Bpitch: this is elegant party music at its best! This track will already be available as a limited edition picture disc with only 700 copies worldwide.
Obviously Florian Meindl, rightly one of the hottest minimal producers of the moment, has contributed a lot to this album, too. Together with Koletzki he co-produced three tracks. First there is “Get Wasted Part II”, a deep trippy rework of the title track filled with lots of delays and noise, and using a refiltered sample of the original vocal. The two tracks “Bud Spencer” and “Terrence Hill” showcase the sound of their collective label Flash Recordings: two stomping techno tracks with many different synthies and some wonderful Koletzki-Style melodies plus typical Meindleske beats. Goose bumps guaranteed!
Apart from the collaboration with Ziggy Kinder on “Kick Trick” - a dirty and ravy tech-house anthem - there are two more pure Koletzki productions. “Song for S.” is a love song. If dedicated to a lost girlfriend or an old love for melodic 80ies synthesisers, nobody knows. In any case, this track is something for the ladies; warmly moving over a grooving bassline and flying away back to more careless times. On “Requiem für die Vernunft” one can clearly hear Koletzkis early love for hiphop and disco. This track is full of samples reminiscent of these times.
This review was writen by none other than soul seduction.
Tracklist:
1. When We Were Young
2. Dieses lied glaubt an sich
3. Get Wasted Part 1
4. Don’t Forget To Go Home
5. Get Wasted Part 2
6. Kick Trick
7. Requiem fur die Vernunft
8. Bud Spencer
9. Terence Hill
10. Song for S.
11. Meniscus
References: http://www.myspace.com/koletzki
French duo Justice have accomplished a lot in the three years since they dreamed up the idea of making records. They’ve toured the world, released the massive ‘Never Be Alone’ with pals Simian (the video of which beat out a shocked Kanye West at the MTV Europe Music Vid Awards), and become all-around press and dance rock darlings. But it’s only just begun. Next month they step one step closer to world domination with the release of their debut album, ‘†‘ on Vice/Ed Banger Records.
Though ‘†’ includes several tracks from previous releases ” ‘Waters of Nazareth’, ‘Phantom’ and recent single, ‘D.A.N.C.E.’ ” the album also showcases nine new tracks, playing homage to Jean Michel Jarre (’Let There Be Light’), Michael Jackson (’D.A.N.C.E.’) and collaborating with agro scene princess Uffie (’The Party’). All bases covered then.
The rise of Xavier de Rosnay and Gaspard Augé has been meteoric, but neither Rosnay nor Augé had much experience in making music before putting together ‘Never Be Alone’ on a whim. “We were graphic designers, then one morning we woke up and we were musicians,” says Rosnay. “We started from zero. It’s cool to arrive in a discipline and not know anything and just try to do things.” With such humble roots, it might be wise then not to expect brain-shattering experimentation from ‘†’, something Augé agrees with. “I really hope that we didn’t do something too weird or too ambitious,” he says. “We tried to make it something with a bit universal feeling that you can hear by listening to the tracks.”
Check out the T-shirts-from-heaven video for lead single ‘D.A.N.C.E’ for a taste of the album.
Tracklist:
1 Genesis
2 Let There Be Light
3 D.A.N.C.E.
4 New Jack
5 Phantom
6 Phantom pt. II
7 Valentine
8 The Party
9 DVNO
10 Stress
11 Waters of Nazareth
12 One Minute to Midnight
References: http://www.residentadvisor.net
One of the most successful Compilation series in Germany gets in the next round.
And with the letter “G”, Sven Väth and Pauli Steinbach of Cocoon Recordings consequently continue on the path they already followed before. No pure Techno collection and also no ‘pabulum compilation’ are waiting for the listener but rather a grown-up music lover collection with modern sounds and the right view on what is currently happening on the dancefloors of the big cities. The names from the tracklistings if the past years sound like the “who is who” of the Techno universe, and this issue also represents a selection that offers unequaled opportunities.
Last year’s high-flyers MyMy from Berlin start with some unusual housy vibes. With the Fuckaponydelic 12″ as well as with the Belly Dancing and Sea Of Sand 12″es by Guy Gerber, the Cocoon label has already opened the door to the House universe, and MyMy’s “Fast Freeze” continues this way.
Contemporary music in the year 2007 refuses to be determined to only one style - more and more, it is simply about the question if the music is good and fitting, may it be named Techno, Minimal or House. Exactly the same is true for the guys from Cobblestone Jazz. Having had their breakthrough in the last year, their contribution to Cocoon Compilation G is a deep Tech House track with slight appeals to Trance and Dub. A definite highlight of the Compilation and for sure one of the obligatory tunes of the upcoming after hour season in Ibiza.
Chaim’s track “Genesis” sounds one degree more trippy. Oriental harmonies and detroit-like basslines on weird beats and hihats that should rock every rave. “Treibsand” by Stephan Bodzin breathes Frankfurt Techno air and sounds like the inheritants of Johannes Heil and Anthony Rother without copying them. Deep main floor alert with hit appeal �” Bodzin’s quicksand doesn’t let loose.
Tiefschwarz introduce the second part and represent the interface to the ‘peak time part’ of the CD. Dreary, minimal, with a slight appeal to Mister Hawtin and Señor Villalobos and with a unique 303 coming directly from Detroit.
Marcel Dettmann presents us the first real Techno track. “Sepia” is a classic old school Techno pusher with minimal but fat beats, a lot of reverb and echo and the right five-o’clock-in-the-morning feeling.
Likewise is Aki Latvamäki’s contribution: rolling beats, staccato synths and driving hihats create a true Techno monster that especially may catch the ears of fans of Mathew Jonson.
After this one, Audion cools down the temperature with “Fire” and leads in the final part of the CD. A tune like a journey to your own self, voices on the left and right, stop-and-go beats and a hypnotic bassline in the typical Audion style, it’s simply great!
Close to Audion’s heels is newcomer Jamie Jones, who is not a stranger anymore, especially since his remix for Estroe on Connaisseur Records. His track “Harijuku” is a very elegant Tech House tool with a deep and driving bassline, fat housy beats and soulful strings, and makes a nice transition to Onur �-zer’s piece.
Reaching the end of the CD, we wind down a little, and �-zer’s part sounds a bit like a mixture between some old Mike-Ink-Studio1 records and current Pier Bucci productions. Dry minimal beats, combined with Swing and harp-like reverbed sounds open up giant dub rooms and endless vastness. Magnificient!
Deetron from Switzerland finalizes the Compilation G and arouses us after the elegant come down with Jamie Jones and Onur �-zer. Deetron unpacks a solid bassline and mean synth sounds, slightly moving towards Electro, but never becoming too hectic. Leaving much space for a long beginning, he creates an absolute highlight of the CD. Props and respect to Switzerland!
Tracklist:
1. My My �” Fast Freeze
2. Cobblestone Jazz �” W
3. Chaim �” Genesis
4. Stephan Bodzin �” Treibsand
5. Tiefschwarz �” Lionel
6. Marcel Dettmann �” Sepia 807
7. Aki Latvamäki �” Tämä Tuli Jarvestä
8. Audion �” Fire
9. Phil Kieran �” I think I’m a Monster
10. Jamie Jones �” Harajuku
11. Onur �-zer �” Halikarnas
12. Deetron �” Maguma
Like past editions, the compilation will be released as a limited edition set of six coloured vinyls for the rich, and a single CD for papers.
References: http://www.cocoon.net/
