At the moment when synthesizers are getting more economical, Moog are firmly establishing what the synth as luxury item looks like – and it’s this. The Minimoog model D is an exact recreation of the iconic original monosynth, starting production of that machine for the first time in three decades, down to even tiny details of circuits. And it’ll cost you – US$3499, limited run in America only.
SoundCloud has become a popular punching bag for the music press. The formula runs something like this: choose a screaming headline predicting the company’s doom, run some out-of-context business numbers and some negative quotes by an unnamed source, then (presumably) rake in clicks.
So, today one of the Internet’s targeted millennial marketing conglomerate – cum – music press outlets decided to ask if anyone likes live techno sets as part of a series that could be titled “We Troll The Internet to Increase Click Revenue.” I really wanted to argue with the content of the article, but – well, it’s a bit too easy. Watch: you can’t even make it past the headline. Headline: “Has Anyone Ever Actually Enjoyed a Live Techno Set?” Some voice in the back of the room from a guy named Steve: “Uh, me. Once.” And we’re done. All …
Let’s be clear: there should be no excuse for the press in our sphere, including this outlet, to treat International Women’s Day as a chance simply to talk about women in music. That obligation is year-round and daily, or we simply aren’t doing our jobs. But that’s not the origin of Women’s Day, anyway. The history, rather, is one rooted in organizing for change. (Like so much modern grassroots advocacy, indeed, it comes from the labor movement just after the turn of the last century.) It’s about people working finding fair opportunities for their work. Focusing energies around an annual …
Complaining about pop music is probably the safest form of musical clickbait imaginable. After all, who isn’t annoyed by at least some earworm, some teeny-bopper celeb? If you long for still more of that, we have another white guy shouting at a camera about it – and, to be fair, some of this is reasonably funny. There’s just one problem: is the argument that music is getting progressively worse actually true – or even asking the most relevant questions?
Forget about whether anyone is going to listen to that release, let alone whether you’ll make money. Finishing is a beautiful feeling. Something happens when you get to that phase of adjusting the final mix, bouncing for mastering. For many of us, that last step involves a stereo bounce. But I think it’s high time to start thinking in terms of stems (both in the lowercase, and the all-caps STEMS Native Instruments is keen for you to use).
Modstep is … an app that does a lot of sequencing things on iOS. Step sequencing and sequence recording with … a lot of stuff. And then those things all connect together, and there are templates for… Okay, it’s hard to explain. Those of us in the business have gotten used to the “it does a whole bunch of stuff” quality of DAWs. But now, new organisms are crawling out of the sea and walking on land, and they don’t have a genus and species yet. Fortunately, a new Modstep video does it absolutely perfectly, so let’s watch that.
Ed.: There’s a record release entirely in etched glass, shaped like a pyramid. There’s an artist who is not only post-genre, but post-gender, and trans-… human. There’s a collective that steps calmly from grimy basement to global festival, talks about occulture and “magick,” and juggles queer partys and zines. For anyone sick of the predictable grinding machinery of the music industry running business as usual, this should be irrefutable evidence that UnReaL, and the artist Born In Flamez, are something different. We arranged a rare interview with the collective and BIF to enter that world – a science-fiction now that …
Remember 1995? Computers onstage were still a comparatively risky proposition – often relegated to MIDI, more prone than today to instabilities, and absent today’s DJ and live performance apps. Monolake, which is now just Robert Henke, was both Robert Henke and Gerhard Behles. (Gerhard is now plenty busy being CEO of Ableton.) And then there was Monolake’s PX18 sequencer, a step sequencer – cum – timeline with loads of interesting tracker-style and mathematical-musical features.
I suspect many electronic music aficianados have the soundtrack for the film The Revenant on repeat who haven’t even seen the film. Any new Alva Noto/Ryuichi Sakamoto collaboration will get the attention of lovers of minimal electronic achievement, with good reason. And The Revenant might just be the perfect landscape for that collaboration. Its marathon portrait of bleakness and intense, lonely revenge make the film a platform for a perfect Alva Noto/Sakamoto score.