Tour Erica Synths in Riga, Where Vintage Tubes Live [Gallery]

Forget the notion that new technologies replace old, that design is a steady progression from past to future. Think, instead, of music – variations on a theme, modernity made from the spare parts of the past. Latvia may be eager to shed its Soviet past, and with good reason. But part of the legacy left behind is a history and expertise in engineering. Rīga, the Latvian capital in this Baltic country, was home to the mighty RMIF synth company and Blue Microphones, among others. The economic strain of the Soviet union sometimes required these makers to be even more ingenious …


New FedByMachines EP is Haunting – As Cut Recs Label is Going Subscription

Big players have gone subscription. But what about a boutique label? That’s the different distribution DFRNT has chosen. And whatever the model, his latest EP is simply gorgeous. Matt Earp unearthed this one and reports back. The interplay between free vs pay-for music in the digital world takes new twists and turns every year. Everyone from the majors to first-time producers eventually have to make decisions about whether to “sell” their music or give it away, and then decide what exactly the concept of “selling music” even looks like in 2014. As a group, subscription models have been a fertile …


New Leaves: A Mix of 2013 Artists and Music to Inspire Your 2014

Ed.: If you, like those of us at CDM, find yourself again at the precipice of new musical possibilities, now is a wonderful time to get you bearings. It means as producers and music lovers that we try to find sounds not just to imitate or accept passively, but that can push us further. In German, there’s a wonderful New Year’s greeting that has no direct translation – “Guten Rutsch!” means literally a good “slide” into the new year. Matt Earp aka Kid Kameleon helps us navigate that slide, from the old to the new, that’s at the heart of …


Voice as Surface and Artifact, in the Experimental Drone Music of Jelena Glazova [Listen]

Experimental noise art, drone music, and other forms – whatever you might call them – can unquestionably be an acquired taste. Absent the normal landmarks of harmonic and rhythmic structure, they raise questions about just what makes form – and accordingly, as a listener you can be lost in a unpleasantly-formless mass. But in the music of Latvian sound artist and poet Jelena Glazova, as in the experimental sound I find most appealing, the experience is not cerebral so much as sensual. There is a conceptual background, but perhaps that’s what sound does so well: it can execute a concept …