#Sub Bass Soundscapes

[dustedmagazine]

Dust, Volume 10, Number 8

Orcas (not Oasis)

Welcome to our all-Oasis edition of Dust!

Just kidding. We slog through August bemused by the excitement over big ticket tours, though we will, if pressed, admit to a fondness for “Wonderwall,” a song often sung jubiliantly by someone we love on the way to track meets and XC ski practice and theater rehearsal years ago (though not as many years ago as it first emerged).

Anyway, we once again trawl the slush pile for the good stuff, opine briefly on its merits and share it with you. We’re sure you’ll find out what the Gallagher brothers are up to from other sources.

This month’s contributors included Bryon Hayes, Ian Mathers, Jonathan Shaw, Tim Clarke, Jennifer Kelly, Bill Meyer, Mason Jones and Christian Carey.

Ark Zead — Niptaktuk (Glacial Movements)

The Italian label Glacial Movements specializes in music that’s chilled, immense and slow, just like its namesake. Niptaktuk continues this icy throughline, offering a series of highly resonant, frost-tinged drone passages. The creator, of which no information is known, sourced these textures from gongs and singing bowls, stretching the frequencies into lengthy, subtly shifting tone clouds. They cleverly balance lighter shades against darker hues, layering pre-dawn shimmer over sub-sonic bass pulses. The delicate patter of scraped and stroked metal adds a sense of the real to these otherwise uncanny soundscapes. Ark Zead drew influence from the cold northern Canadian winter when they created these sounds, yet the experience of listening doesn’t evoke frostbite or blinding blizzards. Instead Niptaktuk, which is an Inuit word that implies oncoming clear skies, is a remedy against frostiness, a kernel of warmth that seeks to melt the winter ice. 

Bryon Hayes

The Body & Dis Fig — Orchards of a Futile Heaven (Thrill Jockey)

At this point, at least going by actual releases, surely there are no greater collaborators in heavy music (in all its forms) than The Body. In addition to their stellar work as “just” a duo, Chip King and Lee Buford have at this point collaborated with a real murderers’ row of bands and artists, and those albums absolutely refuse to stick to any particular formula. That they’d work with Dis Fig (aka Felicia Chen), who’s made an excellent, emotionally/sonically challenging record called Purge and sang on a full length by The Bug, makes perfect sense. The result, as with many “The Body &” LPs, is so seamlessly satisfying you’d think this was everyone involved’s main gig. The thunderous drums, harsh noise, and King’s peerless shrieks are all present, and Chen gives a hell of a lead vocal performance to centre it all. The closing one-two punch of “Coils of Kaa”/“Back to the Water” is one of the best endings any 2024 is going to get, Chen wailing in rage and despair as the music collapses buildings around her.

Ian Mathers

Demiser — Slave to the Scythe (Blacklight Media/Metal Blade)

Retrograde throwback thrash isn’t exactly a growth area in metal, or a particularly enlightened undertaking, culturally speaking. But dudes in denim and bullet-lined bandoliers don’t make records like Slave to the Scythe because they foresee mass-market opportunity or stadiums full of fans in the immediate future. Mostly they don’t see much future at all. Demiser seems to share those perspectives — live fast, die faster, have as much fun as possible in the brief and weird interregnum. Is Slave to the Scythe fun? Depends on your sense of humor, and your tolerance for metal’s more reductive shenanigans. The fellows in the band have given themselves stage names like Gravepisser (he plays guitar) and Infestor (he drums), and they have supplied us with the sublime song title “Hell Is Full of Fire”; no points for innovation, but maximum points for unconquerably up-for-it idiocy. Motörhead seems as significant to Demiser as early Exodus and Kreator (especially the genius of Pleasure to Kill). Sort of nice to hear a thrash record that’s more interested in the riffs than the solos. Sort of fun to play this record really, really loud. Sort of certain that doing so results in becoming materially stupider. That’s okay — it makes that aforementioned lack of a viable future a little less awful to contemplate.

Jonathan Shaw

Dummy — Free Energy (Trouble In Mind)

Dummy’s debut, Mandatory Enjoyment, lived up to its title; it was a record difficult not to appreciate. In her Dusted review, Jennifer Kelly praised it as “a listening experience that simultaneously braces and soothes, agitates and lulls.” Dummy’s second album, Free Energy,has a similar appeal, but knocks this listener off balance with its bizarre fixation on dated drum machines and backwards sounds that bring to mind the baggy indie-dance of the 1990s. You know the stuff: Carter the Unstoppable Sex Machine, Jesus Jones, Pop Will Eat Itself. There are some great songs here, such as “Nine Clean Nails,” but you have dig around amongst the misfires to find them. Dummy still have an ear for a good tune, so you can forgive their more questionable aesthetic decision-making.

Tim Clarke

“Father” John Misty — Greatish Hits: I Followed My Dreams and My Dreams Said to Crawl (Sub Pop)

With streaming supplying abundant amounts of playlists, one might reasonably ask why a greatest hits compilation would be useful. Curation instead of algorithms. “Father” John Misty’s Greatish Hits presents the high points in his catalog, beginning with early songs“Real Love Baby” (2016) and “Nancy from Now On” (2012). It is by no means a chronological survey, nor is it front-loaded like so many collections and playlists. The popular “I Love You Honeybear” (2015) is saved for the penultimate track. The finale, “I Guess Time Just Makes Fools of Us All,”  is new. At eight and a half minutes long, it stretches out with saxophone, bongo, and electric piano solos interspersing bluesy pop vocals. Worth the wait - don’t skip ahead!

Christian Carey

Ben Felton A Lot (Island House)

Ben Felton lets the drones linger, layering sounds on top of sounds, like primary-toned transparencies on an overhead projector. You can spend this album watching the colors these tones make when the light shines through them, hitting one, two, three or more guitar/synth textures before getting to the other side. Complex yes, but peaceful, drowsy almost. One track called “A Foghorn or a Loudspeaker,” sounds like just that, an uneasy truce between natural serenity and amplified buzz and hiss. The space it lives in is large and echoey, a cathedral or, more likely, a vast underground cavern with water lapping at the walls. Occasionally, the electronic mode predominates as in the airy percolation of “What You Need.” Yet though the blippy motif is bright and uncorroded, it sits atop a woozy soup of tone; guitar notes crash in sporadically intimating a rustier, more industrial territory nearby. Felton comes from New York but now resides in more bucolic Carrboro, North Carolina. His soundscapes find a meeting place between folk-adjacent ambience and rougher, noisier music. The album gets more propulsive as it goes. Shaken-not-stirred “The Fifth Day,” turns a three-note upward lilting motif into something approaching rock anthemry. You can’t blame the sustained notes for hanging around. It’s nice here, and you want to stay.

Jennifer Kelly

Margarida Garcia And Manuel Mota—Domestic Scene (Feeding Tube) 

Upright electric bassist Margarida Garcia and electric guitarist Manuel Mota are part of Lisbon, Portugal’s experimental/improvisational music scene and have worked together with and without the participation of others on seven records besides Domestic Scene over the past decade. It is their first LP to be released in the USA, and there’s something poetic about that fact, because it feels like an echo of the work of one American musician — Loren Connors, and more specifically, 21st century Connors in solo mode. It shares his sparseness, boiled-down lyricism and willingness to disappear into a haze of noise. Since Garcia has associated with him at times, there’s definitely a shared aesthetic. However, these are not young copycats. Mota’s spare progressions proceed according to a different logic, purged of blues and baroque elements, guided by a north star of sequential consonance that adds up to quiet dissonance. And Garcia’s subdued, bow-born cries have an ability to compound, making the music thick with atmosphere, but still stingy with note counts. Play it late. 

Bill Meyer

Geneva Jacuzzi — Triple Fire (Dais)

Geneva has been making bedroom synth pop for years. On Triple Fire (named after her astrological sign), the production values tick upward, and several of the songs are club ready. “Laps of Luxury” is a case in point, with Geneva’s dulcet singing abetted by backing vocals, early digital synth sonics, and mechanized beats. “Scena Ballerina” recalls her early bedroom pop, with a taut riff and harmonic swerves. Trebly synths and out of the box percussion underscore an emotive vocal on “Take it or Leave it.” Geneva’s speechsong in “Art is Dangerous” and “Speed of Light” recalls Laurie Anderson’s 1980s work, while “Heart of Poison” has an art rock ambience that incorporates tenor saxophone and is rife with shimmering synths. “Rock and a Hard Place” is an aggressive example of dark wave electronica. The closer, “Yo-yo Boy” is an anthemic piece of minimal synth-pop that reminds listeners of Geneva’s roots while presenting memorable tunefulness. 

Christian Carey

Katatonic Silentio — Axis Of Light (Midnight Shift)

Axis Of Light by Katatonic Silentio

Italy-based Mariachiara Troianiello is a long-time DJ, and independent audio and ethnomusicology researcher at the University of San Marino. She also creates electronic music under the name Katatonic Silentio, and on Axis of Light explores a spatial dub, filled with palpating beats and flickering synthesizer sounds. The five tracks on this EP are all based on rhythmic frameworks that skitter and thud with a dark, night-time vibe for the most part. As the title indicates, opener “Drip in the Cave” is indeed subterranean in nature, with rubbery pads and liquid drums reverberating in tactile space. “Bridging the Gap” is lighter and bouncier, bubbling at a fast tempo and filled with electronic hoots and blips. The other pieces mix slow with fast, and machine-like rhythms with heartbeat-like pulses, all swirling in a warehouse ambience populated by ghostly static, quiet bells, or spooky, whistling tones. It’s all a neat combination of machine world and organic atmosphere, like a science-fiction world populated by real, messy people.

Mason Jones

Nicole Marxen — Thorns (Self-Release)

Nicole Marxen puts an eerie shimmer over rough crescendos of metallic noise, keening in the ghostliest, most disembodied way amidst vibrating slabs of guitar sound. “Thorns,” the album’s spiritual center, floats a chilly line of vocal melody—think Beth Gibbons or Chelsea Wolfe—over a machine-like industrial beat. Fragility blooms in an apocalyptic afterworld. “The Executioner” is heavier, more ominous, slithering to life out of the flickering buzz of downed powerlines. A stolid march emerges soon, swaggering with drums, swelling with amp-frying volume. Marxen presides like a high priestess, unperturbed amid flares, fills and violence. Like Jarboe astride a Justin Broadrick wall of noise, she stakes her claim, with operatic trills and whispered confidences. Dramatic, large-scale stuff.

Jennifer Kelly

Magda Mayas’ Filamental — Ritual Mechanics (Relative Pitch)

Keyboardist Magda Mayas’ music has often evidenced expansive thinking, but it took the resources of a festival to first bring her large group Filamental together. Once convened, she took full advantage of her octet’s assembled potentialities for imagination and sound. Having had one such experience, Mayas wasn’t going to wait for a festival to marshal such a breadth of mindpower and material again, nor was she going to let the impediments to travel and gathering imposed by a world pandemic get in the way. So, she sent out an invitation to an invitation to Filamental’s members and turned their gathered input into two pieces that run a bout 20 minutes in length. Each sets small, contrasting gestures dancing atop a consonant surface of elongated, layered sonorities. Ritual Mechanics is not so much a drone piece as an expression of continuous, focused action, richly detailed and consistently focused.

Bill Meyer

Rob Mazurek — Milan (Clean Feed)

Rob Mazurek has been recording for nearly three decades and performing much longer. His methods encompass composition and improvisation using brass, electronics, voice, and other instruments. In any body of work so broad, there are themes, some more dominant than others. Milan is a successor to Rome, which together comprise a smaller trend that involves recording solo performances in Italian radio studios with nice pianos. Recorded nine years apart, they offer a measure of how Mazurek’s work has changed in that time. Instead of cornet, he plays concert and piccolo trumpets; sternly ceremonial vocalizing and fistfuls of percussion dropped purposefully into the piano assert a more explicitly ritual intent. And, perhaps reflecting the amount of work that Mazurek has done with Damon Locks of late, the electronics now include playback options, so that vocal and instrumental samples (Is that Sun Ra I hear in there? And maybe some Ocora ethnic recordings?) as well as beat patterns muscle their way through the sizzle and smash of the prepared piano. Explicitly conceived as a journey, it’s quite a trip. Mazurek’s ensemble work can be pretty widescreen, but Milan reminds us that he can be epic on his own.

Bill Meyer

Nadja — Jumper (momentarily records)

Out of the many, many records put out by ambient and/or doom metal duo Nadja, it’s truly rare to find one that doesn’t feature Aidan Baker’s guitar in one form or another. But on Jumper, originally released as a bit of an art object on cassette (the online cover art is a look at the contraption that the tape comes in), he restricts himself not just to their drum machine but to layering and processing one particular pattern from it. Leah Buckereff provides bass, a more typical entry in the credits of their release, but here the way the slowly accreting digital noise plays over and around its pulses and feedback gives the whole album a very distinct feeling. Despite the use of drum machine there’s almost no rhythm to the whole hour here (until a surprise right at the end that catches me off guard every time), instead the effect is one of meditative harshness. The result is absolutely industrial, like a factory that’s weirdly compelling to listen to.

Ian Mathers

Orcas — How to Color a Thousand Mistakes (Morr Music)

Orcas — Rafael Anton Irisarri and Benoît Pioulard — haven’t recorded together in a decade, but they have been abundantly busy with their own projects. How to Color a Thousand Mistakes is consistent with past Orcas recordings and also reflects the music they have made in the interim. “Wrong Way to Fall” stands out in both regards, with Pioulard’s husky vocals over shimmering electric guitar solos, synth riffs and minimally complicated, but driving, drums. “Riptide” is populated by a number of different synth parts against a terse countermelody in the guitar. “Swells” has a strong vocal performance, while vibrato and pitch bends in the synths and economical guitar parts make for a memorable arrangement. “Fare” covers all the bases, with Pioulard’s voice double-tracked in a soaring chorus alongside mellifluous electronics, emphatic guitars, and plenty of drum fills. The recording’s closer, “Umbra,” has an extended introduction with a bass melody and warm synths. Then tangy dissonance and glissandos abound in both voice and instruments. It epitomizes the atmospheric textures that Orcas seem able to summon at will.

Christian Carey

Oxygen Destroyer — Guardian of the Universe (Redefining Darkness)

Guardian of the Universe by Oxygen Destroyer

Guardian of the Universe is another slab of monster-movie-themed, death-metal-inflected thrash from Oxygen Destroyer. The Seattle-based band’s previous LP, Sinister Monstrosities Spawned by the Unfathomable Ignorance of Mankind (2021), expanded their long-standing kaiju theme to include colossal beasts from outside the canon of the Tojo Studios Godzilla movies. The new record shifts tactics, focusing exclusively on Gamera and the giant turtle’s films for one of Tojo’s competitors, Daiei Films. It’s hard to know how much the record will appeal to listeners for whom those inside-baseball kaiju references mean little to nothing. But if you’re down for songs that attempt to replicate the absurd pleasures of Gamera in flight — head and limbs retracted into its massive shell, which then spins and shoots sheets of sparks from the holes, natch — this may be the record for you. Guardian of the Universe is non-stop fireworks: crazy, thrashy riffs; maniacal flat-out sprints; dive-bombing guitar solos. Should we take any of it seriously? This reviewer won’t hold forth (again) on the cultural stakes of post-war kaiju films. If you know, you know. And mostly what matters here is the band’s complete conviction and the joys of the music’s excesses. In these dog days of summer, it’s exactly what some of us need.

Jonathan Shaw

Peel Dream Magazine — Rose Main Reading Room (Topshelf)

Rose Main Reading Room by Peel Dream Magazine

It’s been four years since I’ve checked in on Peel Dream Magazine, whose second album Agitpop Alterna I described in my Dust review as “just like early Stereolab, with occasional blasts of shoe-gazey guitar thrown in for good measure.” I missed PDM’s third album Pad, so this brings us to album number four, Rose Main Reading Room. There’s still plenty of Stereolab in the mix, especially in the Mary Hansen-style backing vocals, the Farfisa, and the squelchy synth sounds (see “Oblast”). But here there’s more of a lean towards the baroque pop of Sufjan Stevens circa Illinois, mainly thanks to the chunky glimmer of vibraphone and the spiraling flute lines, which really brighten up proceedings. This balance between droning indie-rock and tuneful pop is very pretty, with sufficient musical complexity to invite rewarding repeat listens.

Tim Clarke

Plastic Bubble — Circular Breathing EP (Garden Gate/Moon Control)

The Circular Breathing EP by Plastic Bubble

Here’s a slab of happy, giddy, psychedelic garage rock which, except for the 2024 release date, wouldn’t be out of place in the Elephant Six universe. Lexington, KY’s Matt Taylor and Elisa McCabe are the chief blowers of bubbles, spinning out rough but iridescent songs like “Recontextualize,” where a guitar vamp grinds but vocals drift in pop ideality, “ah, ah, ah,” indeed. A classic indie boy-girl vibe permeates these five songs, with McCabe especially fetching in “Bright Morning.” “Forever” pulls back on the guitar roar to uncover a jaunty, girl-group bounce, with sweet counterparts and harmonies weaving in and around McCabe’s part. The set closes with a banger, part Who, part Fountains of Wayne, and all the way infectious, “Anything and Everything.”

Jennifer Kelly

SUUNS — The Breaks (Joyful Noise)

The Breaks by SUUNS

Elusiveness characterized SUUNS’ last album, 2021’s The Witness. As I noted in my Dusted review, “There’s no denying that its elusive character is part of its charm, but there are stretches where it feels more evasive than elusive, stubbornly refusing to engage more directly.” On their new album, The Breaks, the Montreal band are more direct in terms of the sounds they’re employing, but more evasive when it comes to songwriting. The majority of contemporary pop music is based around heavily effected vocal melodies and beats, which The Breaks seems to take as a cue towards similar immediacy. However, aside from the title track, the nagging piano of “Road Signs and Meanings,” and the loping stomp of opener “Vanishing Point,” this record is a tough nut to crack.

Tim Clarke

Tatsongs — Bushcraft (Self-Release)

Bushcraft by tat songs

Tatsongs are neither tat, nor really songs. The former implies fussy decoration, and these long, glacially evolving pieces seem as raw and elemental as rock formations. You can almost hear an icy wind blowing through their sheered off contours. The latter argues for a Pavlov’s buzzer of pleasing tone arrangements, and Tatsongs’ Tom Sadler is really not concerned whether you can guess then next 10 seconds of his compositions from the preceding 20. But even so, there’s something to be said for looming, sheeny layers of guitar and synth sounds that carve space and time into epic, barren landscapes. Tones vibrate in and out of true, zooming close and fading back, twitching in rhythm and coalescing in static fuzzed drones. Not a song in the bunch, nor much embroidery, but powerful stuff nonetheless.

Jennifer Kelly

TELESTIALVISIONS — Taurus in a Field (Island House)

Taurus in a Field by TELESTIALVISION

As Dittocrush, Pittsburgh resident Trevor D. Crush assembles tape loops into ambient symphonies. He often adds layers of live instrumentation from other musicians, such as Island House associate Chaz Prymek (Lake Mary, Fuubutsushi) and guitarist Ryan Fedor. TELESTIALVISIONS is his latest project, a tag team with New York guitarist Brinton Jones. The pair offer up a frothy brew that tastes rich and complex. Their debut Taurus in a Field is a pair of woozy collages that, while undeniably loose, are sharp in focus when compared to Dittocrush’s ghostly soundscapes. Crush’s tapes construct tangible shapes that intersect in a variety of patterns, while Jones unveils angelic melodies with his guitar. These two are telling a story that’s more Borges than Burroughs, a fantastical tale that defies conventional logic but manages to meander toward a graspable conclusion.

Bryon Hayes

Tycho — Infinite Health (Ninja Tune)

Infinite Health by Tycho

Tycho is Scott Hansen, and Scott Hansen is a designer. You can hear Hansen’s day job in Tycho’s music: the clean lines, the smart use of space, the sheer digestibility of it all. But should music go down quite this easy? Listening to Infinite Health feels a little bit like you’re at a trendy gym, playing a bit-part in an advert, or hitting up a bar packed with influencers. The common denominator is wanting to feel seen; everything plays a part in attracting attention. The synths sound like Boards of Canada, some of the funkier electro-pop moments sound like Daft Punk, and there’s an expensive sheen over everything. It’s hard to deny it’s appealing, but it also feels like experiencing capitalist obsolescence in real time.

Tim Clarke

White Collar—S/T (Static Shock)

White Collar by White Collar

Listeners with a long memory for North American hardcore might flash on those mid-1980s records by White Flag when listening to this new release from White Collar. Like that earlier Inland Empire band, White Collar frequently turns its critical gaze and its caustic smart-assery on the contemporary cultural climate of punk and politics as lifestyle (and your reviewer uses that odious term advisedly here). Songs like “Compassion Fatigue” and “Petition Signer” snarl at and spit on liberalism’s excesses of self-righteous smugness, to often hilarious effect. There’s a puritanical element to Gen Z’s dispositions and discourse that White Collar finds deeply irritating — not that the band is against strong ethico-political speech; check out “Meat Market” and “Equal Wrongs.” This is not the space for sustained analysis of Gen Z punk, and the extent to which we may want some sort of political purity from punk in the first place. But certainly, it’s an intrinsic good for punk to have snotty, disputatious and nasty voices in the mix. White Collar’s songs are short and sharp, and vocalist Loosey C’s performance is memorably unpleasant. Snarl on, punks.

Jonathan Shaw

[th3-0bjectivist]

     If there’s one style of music that manages to go woefully underrepresented on my page, it’s any variation of hip-hop. Well, that and mainstream modern country, and I guaran-damn-tee you’ll NEVER see any of that shit on my page. So, for the next few weeks I would like to focus specifically on deejays, hip hop and trap music. Let’s begin with something of a solo act that hails from France of all places, Soudiere. This French deejay took me completely by surprise recently with his phonk; that being rap vocals on top of chopped and screwed classic hip hop with some light elements of jazz, funk and experimental pop to create a sound you’ll rarely hear outside of a Memphis, Tennessee dance club circa the 1980’s. Often dark in both lyrics and tone, this style of hip hop centers on double and triple time flows, digital snares and booming sub-bass that accentuates Southern-style east coast American hip hop. It’s curious that a fella from Saint-Dié-des-Vosges, who is as white as the driven snow, would or could formulate beats this intense. But you gotta follow your passions, and Soudiere had been listening to trap music since his late teens until he decided to try and create his own soundscapes in his twenties which are largely samples from resources all over the internet and vocalized by gifted lyricists he has met on Soundcloud over the years. I really couldn’t find much additional information on this talent, other than a scant interview here or there that shed light on him being from cities where the music scene is basically dead, he’s a huge cartoon fan, and he just wants to make you dance. So, do yourself a favor dear listener; crank the volume, smash play, and chill out to a tune you’ll likely come across once in a red moon. This is Trap Scholar from 2018’s Young Pirelli, Vol. 5. More exciting hip-hop next week... with a bit of a refreshing vaporwave twist!

They don’t come more talented and/or underground than this in modern music, folks. Image source: https://twitter.com/youngpirelli?lang=en

[clu3io]

Trinity, Bass Techno release proudly presents a stellar collection of high-quality tracks, produced by Laylae to perfect your latest bass techno mix. Inspired by the sounds of artists such as Exium, Das and Quartz. The label Robotic, this liveact album promises to propel your music to new heights. Set at a steady tempo of 136 BPM, the tracks are tailored for bass techno enthusiasts and also cater to various sub-genres within the techno spectrum.

Alja Knez is an electronic music producer, Dj and Liveact from Ljubljana, Slovenia. Her sound can be described as a bass and breaks driven techno, laced with futuristic soundscapes and progressive characteristics.

With releases on Robotic and Coalition Records, Laylae’s productions exhibit her driving techno influences blended with a newfound inspiration for basstechno and breakstechno.

Apart from being the label manager at Clubio, she has been a DJ for 15 years and having played at multiple of the Europe’s venues, her sets showcase her diverse music collection, carefully curated and adaptive to uplifting the crowd on the dancefloor.

With releases on labels like Let's Techno, Basic Avenue, Techno Vinyls, Data Tech and Tehnopolis, she is leaving her mark at festivals like Exit and underground clubs in Berlin like Mensch Meier. She is resident host at Digitally Imported with I'm not a Robot, Naked and Tors radio show.

Support @LaylaeDJ

[top-the-cat]

The Isolation Tapes Part 10 - I Heard It On The Radio Vol 7

I Mean, if you've already pressed play and you are just arbitrarily reading this nonsense because you already know that this is another 35 tracks taking in artists or tracks that I have heard on or through BBC6Music whilst on my travels, then this is kinda' wasting both our times….

But if you're new here, then expect all sorts of stuff from fierce drum & bass, spiritual jazz, Puerto Rican and Japanese drums, northern soul, and some 80's electro, all within the first half. Then some soundscapes, hard techno, house, hip-hop, dub, poetry, sub-bass frequencies, blues, gospel, and a little bit of local folk, in the second!

You don't get a line-up like that anywhere else, do you?

[neonradiation]

Album Review: 'Memento Mori' by Depeche Mode

Key Quote: "It's taken me a year to review this album - a year of letting it's flawed brilliance permeate through me."

As the length of time gets longer between albums (Spirit was released 6 years before Memonto Mori), we have to wonder how many more we can expect from Depeche Mode. Having just completed a huge world tour, Dave Gahan and Martin Gore will inevitably be thinking about solo projects. But maybe this time we can expect something a little bit sooner from DM - perhaps even a surprise album with no tour..?

1. My Comos Is Mine

This is more of an album prologue than an actual song, although it does have some words set against an industrial soundscape. In my opinion, although not an easy listen, it does serve a purpose, which is to set up the next song perfectly. But, I'll never understand why it was released as the 2nd single from the album - that did have me worried...

2. Wagging Tongue

The 3rd single released starts with some classic DM synth and suddenly everything in the world is ok again. 'Watch another angel die' is not everyone's choice for a song chorus, but it does work wonderfully and is somehow catchy as hell. This is co-written by Martin Gore and Dave Gahan.

3. Ghosts Again

Released as the 1st single before the album release and upon 1st listen, this could only ever be Depeche Mode. Stripped back production from James Ford (Artic Monkeys, Gorillaz, Pet Shop Boys) really let the guitar and vocals breathe. When placed in an album context, you could be forgiven for thinking we are going to get a concept album about death and re-birth.

4. Don't Say You Love Me

Something you don't hear too often in Depeche Mode songs are orchestral strings - but they are prominant in this song. It's an interesting sound when combined with guitar and sub-bass synth. But, it's Dave Gahan's vocals that gels everything together. This another song (as well as Ghosts Again) co-written by Martin Gore and Richard Butler (Psychedelic Furs).

5. My Favourite Stranger

This track stands out for me immediately, a great guitar, bass synth and percussion introduction followed by crunching guitar hook. The vocals give way to the music around 1:30 mark and the song really takes off. It's a bold move but it works well and when the vocals come back in, it becomes the best arranged song on the album.

6. Soul With Me

So now it's time for the Martin Gore sung song. I've really enjoyed listening to the 'Martin songs' on the recent tour. But in my opinion, this one doesn't stand out as much as those. It's a little bit of a plodder - there I've said it!

7. Caroline's Monkey

This song about addiction doesn't really hit home with me either. Musically, I feel it's disjointed and patched together. Lyrically, although I get the metaphor, it does jar a little and feels out of place.

8. Before We Drown

For me, this was instantly my favourite track on the album and I was glad it was released as a single and later included in their live set. It has all the elements of a perfectly crafted synthpop song but then at 2:50 is taken up several notches. It really is spine tingling stuff and like 'Cover Me' from the Spirit album, it gives a nod in the direction of synth pioneers Kraftwerk.

9. People Are Good

The final (probably) single from the album has DM trying to find the good in people. Although quite bass heavy, this has a catchy vocal melody although I'm not sure it's single material.

10. Always You

A guitar free song gives this a pre-Violator feel to it and is a refreshing change on the album. Also, its worth noting there is a lack of droning bass which is present in a lot of the other songs.

11. Never Let Me Go

Back with the guitar then and there's nothing too offensive about this song, but it doesn't really grab me either.

12. Speak To Me

This slow burner serves as the album's epilogue. An understated, yet powerful song where again the stripped back music really showcases Dave Gahan's vocals which I have to say sound better than ever on this album.

In conclusion...

Well, it's taken me a year to review this album - a year of letting it's flawed brilliance permeate through me. Although it's not a perfect album, Memento Mori (Remember Death) was definitely worth the long wait.

Depeche Mode Contact Details And Music Links:

Twitter: @depechemode

Album Spotify: Memento Mori

Artist Spotify: Depeche Mode

Website: Depeche Mode

[bluerocket]

EXURSIONS - C418 -

This is such an amazing album for a lot of reasons, it’s outerworldly soundscapes or it’s blood pumping synthesis, it has something for the old school Minecraft fans and the recent fans of c418

First off the title track, a lush soundscape of twinkeling harmonies and something that calls back to volume alpha.

Cold summer picks up the pace, featuring a sinewave arpeggio that drones throughout and a thumpy bass drum really reminding you that the world of this album isn’t without dance music, this only foreshadows of what to come.

Txl reminds me of a sci fi Buddha giving life to many, it’s retro synths create a minimalistic but soothing atmosphere.

Tingle is the first heavy song on the album with a strong sub bass throughout and a pulsating rhythm interspersed with electric guitar and crackles of the outside to round this off as a first look into this albums better songs.

Beton was the first song created for this album, and it is amazing, opening with a calming set of reverb filled synth lines which then abruptly change into dancefloor shaking sawtooth synths that are sure to get your head moving, this cuts back into a slower section before building back up with vocal chops and a true c418 synth line, this song is really good.

Ams is a well deserved break after the electro jungle of beton it sports a solo piano playing something out of volume alpha, it’s soul transporting you away into a dream or wherever you feel like, it’s a track for the soul as it prepares you for c418s opera

Thunderbird is the Magnum opus of this record, a slow start soon builds intensity untill the kicks of beton Greet you to a genius baseline and chord stabs which are sure to send you into electro heaven, the track continued to build before cutting off with a reverb filled exit as Ams piano fades in but you barely get time to soak it in before the riser begins and you are thrust down the rabbit hole and into the land of hard baselines and pure banger before slowly breaking away, it’s 13 minute run time served it’s purpose.

Aviva is just ama with more bass, not much to say other than poggers.

Figure 8 starts slowly, strings guiding you to the eventual best drop and oh boy does this drop this fucking DROPS and before you know it you are in the land where no treble exists, just bass, and that is perfect. After synth is added back in the sound is full again before a cold summer like sound takes over the sound starts to build before drop 2 electric boogaloo, and it’s pretty good.

Fake triplets is a time only in triplets, c418 saw a crotchet and told it to fuck off. The bass drop is like figure 8 but more tron esc, with undeniably catchy synth riffs and a bit of handspan just so you remember who you are listening to. It does this a couple more times but to be holes I get lost.

Nest is like taking a microphone and holding it up to Daniel rosenfeilds Brian, chaotic electronic and catchy

Home is a desolate soundscape of concrete mscheinery which dominate the musical landscape

Atx got its name from the airport, and it’s music did too, with rhythm and noise coming from everywhere before slowly slowing down as the airport in your mind closes.

Leak starts slow, but with a small swelling synth building up untill BOOM the bass kicks in and so does your heart, the blood flowing like the lead of the song, never letting go of the hold of the song this song never lets up, and with its voltage inspired leads I wouldn’t even want it too. It finally slows to open the gate to my favourite song on the record

The president is dead opens with distorted vocals before a synth line begins caked in space, it is a street through the soundscape before the riser leads you in to the first drop of delay and goodness before the three cymbal hit and bam the stereo feild opens up into a space filled with stars and planets before the bass line returns like a warning tone on a ship or some sort of dubstep ringtone. Before the three cymbal hit crashes you doen to earth as you settle back from your musical voyage, but only halfway through ofcourse, the three cymbals open you up to a deep and strange like expanse of sound where not even god can save you, before building up into something incredible, and then dying down into a thumpy bass line

Hope is a quiet subdue ending, that sends you drifting the ocean of data and a stary sky of led bulbs, a fitting end to an amazing album

9.5/10

Fav - The president is dead

Best song - Thunderbird

C418 has created a album for the ages and such a beautiful soundscape. Bravo.

[thebandcampdiaries]

Riverstar: Video Game-Inspired Instrumentals With A Hip-Hop Twist.

Her latest EP, “The Return to the Crystal Canyon,” will take the audience on a unique journey!

October 2023 - Riverstar, also known as River, is a very imaginative artist who likes to think outside the box when creating music that’s quite one-of-a-kind. She has a focus on video game-inspired instrumentals, seamlessly intertwined with hip-hop influences and a lo-fi twist.

Because of this rather distinctive combination of styles, Riverstar is able to create a captivating sonic signature that transcends genres, leading to more immersive listening experiences for the audience. Her music isn't just a collection of tracks; it's an intricate narrative that leads the audience on a cinematic adventure, much like getting lost in the worlds and captivating characters of a video game.

The world of hip-hop might feel quite far removed from the idea of video game music. However, Riverstar created a good balance between these two styles. The ebb and flow of hip-hop merges well with the otherworldly nature of video game soundtracks and their grander scope. This fusion results in a musical experience that's both familiar and fresh, expansive yet nuanced, and even intimate in its own right. The EP features three songs, including the first track, “Where should we go next?” - This song serves as a really good introduction to what people can expect from the mood of this release. The track kicks off with a really cool arpeggio, which adds a dreamy and mesmerizing mood along with the ambient drone that makes the ambiance stand out. Underneath it all, a simple yet articulate beat drives the music, making for a truly fascinating experience. This particular track actually reminds me of Stewart Copeland’s now legendary soundtrack for one of the older Spyro The Dragon games. The whimsical melodies add to the color and rhythm of the music, and the arrangement has a really smooth flow. The second song, “Deep within the Crystal Canyon” also offers some mesmerizing arpeggio, but it takes it all up a notch with some massive bass tones! The synth lines providing sub-energy in the mix are beefy and assertive, but they never overpower the main melody that drives the composition forward. The song still allows the beautiful arpeggios to breathe, making for yet another exciting sonic adventure in music. The third and final track on this release is titled “Robot Dragon-Spiders?!” and it is the shortest of all 3. However, the arrangement is just as rich and detailed. This time, the fuzzy synth lines and wonderfully dynamic beats actually remind a bit of retro-gaming sounds. There is something vaguely lo-fi about the aesthetics of this song, especially in the saturation of the drums and the synth lines.

Riverstar's knack for infusing her music with a very motion-driven twist, especially through the use of arpeggiated patterns, further adds depth to her compositions. This is a great way to add some nostalgic vibes without necessarily compromising the momentum of her compositions. 

To conclude, one of the standout features of this EP release is its remarkable diversity. From the upbeat and energetic melodies that accompany the arrangements to the enchanting and tranquil ambient soundscapes in the background, the music has it all. The tracks really evoke a video game scenario where players get to explore fantastic environments. Even though this music isn’t associated with any game in particular, you can almost see the world coming to life right before your eyes (and, more importantly, ears!)

Each track on “The Return to the Crystal Canyon” is thoughtfully crafted to immerse players in the unique atmosphere of the compositions. The use of a wide range of sounds adds depth and texture to Riverstar’s work, creating a rich sonic texture that mirrors the rich visual world of some of the best adventure video games.

If you want to hear more from this artist, you’re in luck! In addition to her original compositions, Riverstar also does a lot of unique remixes, which she posts on her YouTube channel, highlighting her ability to reimagine and transform music into something entirely her own.

Find out more about Riverstar, and do not miss out on the artist’s most recent releases, activities, and events.

[cryptorobertos]

🎵🎶 **Feel the Beat with Slap House Vibes! 🎶🎵

🏠 Welcome all music enthusiasts, rhythm seekers, and beat lovers! 🏠 Dive into the pulsating world of Slap House Music and lose yourself in the groove! 🕺💃 Whether you're a Slap House veteran or a fresh face in the crowd, our space is your space to explore, share, and relish in the electrifying soundscapes of this revolutionary music genre! 🎉🔊 What is Slap House? 🎶Slap House, a sub-genre of house music, blends intoxicating basslines, punchy beats, and catchy melodies, creating a sonic experience that's making waves across the global music scene! 🌍 It’s all about deep, groovy bass slaps intertwined with compelling vocals, promising a rhythmic journey like no other!🌟 #SlapHouseVibes Feature:✨ Share your favorite tracks 🎵✨ Discover underground gems 💎✨ Discuss artists and upcoming gigs 🎤✨ Meet fellow Slap House aficionados 🕺💃🎧 Vibe to the Rhythm! 🎧Uncover a treasure trove of tracks, from top-charting hits to undiscovered gems, and immerse yourself in the exhilarating rhythms and hypnotic beats that define Slap House. Bounce to the beat, feel the energy, and share your passion with like-minded individuals!💬 Join the Conversation! 🗣️Engage with fellow Slap House lovers, discuss the latest releases, exchange thoughts on the hottest artists, and spread the love for the slap! From casual fans to hardcore enthusiasts, everyone’s welcome to join the conversation and delve deeper into the fascinating world of Slap House Music!🎉 Stay Tuned & Get Involved! 🎉Don't miss out on any Slap House goodness! Follow us to stay updated on the latest tracks, artists, and events. Share your thoughts, post your favorite tunes, and let’s create a thriving community of Slap House enthusiasts!🔗 Connect with us, be part of our growing community, and let’s make the world dance to the invigorating tunes of Slap House! 🕺💃🎶#SlapHouse #MusicLovers #FeelTheBeat #HouseMusic #GroovyVibes #DanceMusic #MusicCommunity #SlapHouseMusic #BeatDrop

[thisworldisablackhole]

Elevator To Hell Parts 1-3 (1996)

FFO: LO-FI POP, FOLK, INDIE ROCK / LISTEN

"In came a boy with mid-length greasy hair, he had lots of songs that he wanted to share."

And so he did. Through a stoned haze of squelching guitars and distorted synths, Rick White introduces himself with a parable of being attacked by a misanthropic bird named Roger. Roger hates the way that humans stare at him so unfriendly, so he decides to attack the boy. A barrage of panicked limbs erupts, and Roger is knocked to the ground, stunned with the taste of greasy hair in his mouth. It's hard to tell who the narrator actually is in this story.

1993 was a big year for Rick White. With nothing more than a couple demo tapes under their belt, his band Eric's Trip became the first group of Canadians to sign a record deal with Sub Pop, and their debut album was released to critical acclaim, but his personal life was a mess. Love Tara (somewhat humorously named after his new girlfriend, who would play bass for Elevator) was a concept album/musical therapy session dedicated to the break up of his relationship with fellow bandmate and collaborator Julie Doiron. It was a superbly intimate record—equal parts sad and awkward—but it was surprisingly mature for a couple of twenty year old's to hash things out like that for the world to hear, and the people loved it. Despite the bands sudden success, and the fact that he and Julie managed to stay cordial enough to tour and release two more albums together, it's safe to say that Rick needed a secondary outlet to express himself. Thus, in 1994, Elevator To Hell was born.

Parts 1-3 plays out like a collage of hazy, drug induced scrap book musings. It's a compilation of twenty-seven lo-fi and experimental pop, rock and folk songs that were all recorded straight to cassette on the day of their inception, without much of a second thought, and with whatever instruments that Rick could find laying about in his smoke filled bedroom. Rick's propensity for capturing a moment and translating it to song makes being a musician look easy. He doesn't need to spend days meticulously crafting a bridge or pre-chorus when hooks and harmonies flow out of him like water, and so he wrote and recorded to his heart's content. His stories are simple, and brought to life by a rotating cast of drums, bass, electric or acoustic guitar, and synthesizers—all of which are cycled in and out on a whim. The only real sense of cohesion holding this collection of songs together is their eclectic charm, but that's a huge part of the appeal. It's a mixed bag of styles and volumes that is sometimes sweet, sometimes spooky, sometimes quiet, and sometimes so loud that every input on the tape recorder must have been clipping and peaking to god knows where (warning: listening to "Boots" may induce bleeding of the ears).

All these pot smoke allegories are not baseless, by the way. Rick states quite plainly on second track “Why I Didn’t Like August 93” that he has a problem with girls, and with drugs, and implies throughout the album that these obsessions are simply fuel for his own self destruction. This problem becomes quite apparent and tangible to our ears over the hour that we spend listening to him fawn and reflect. Catchy love songs like “Three More Weeks” and “Made For You” are contrasted by the totally bizarre percussion soundscape of “Mercyful Fate” (named after, but not sonically inspired by the heavy metal band from Denmark), or the off kilter synth pop of “Killing Myself” and “Train From You”, amongst plenty of other head scratchers. Rick might be playing pinball with his genre exploration, but these songs are held together by a peculiar sense of melody and loneliness. During seventh track “Typical, Boy Loses Girl”, Rick asks why he even bothers writing these songs, and begs to escape from himself altogether. There’s always a hint of hyperbole and dramatization in music, but he was clearly going through it while writing these songs, and I’m just glad that he was able to continue pursuing art and funnel that turmoil into creation.

Not only has Rick White released a gargantuan library of music since this came out in 1996 (his bandcamp page is currently sitting at fifty-three releases, which doesn’t even include everything), but the landscape of music itself has come a long way since lo-fidelity tape recordings infiltrated the subculture markets of the 90s. This album definitely shows it’s age with it’s DIY sound and approach, and it probably wont attract many new ears outside of avid Eric’s Trip fans or CanCon historians, but Parts 1-3 is a special time capsule of ideas that really deserves to be uncovered. It’s the type of album that could only ever be made by a sad twenty-somethings stoner living in Moncton, New Brunswick in the 90s, and that’s why I love it. Rick White proved that you don’t need expensive equipment, or even a band, to create compelling stories, and that continues to inspire me to this day. A catchy hum along tune and a unique voice is all you really need. Oh, and maybe a side of psychoactive substances. Just don’t turn into Roger.

[clovemerablog]

Suki Waterhouse single review: “Supersad”

Suki Waterhouse’s uplifting glam rock inspired single has me playing it on repeat

Review by Clove Mera, 29 July 2024 “Supersad” released 21 June 2024 Track written by: Suki Waterhouse, Chelsea Balan, John Mark Nelson, Lita. Sub Pop Records

Suki Waterhouse’s “Supersad” became my favourite track almost instantaneously, with its 80s glam rock influence and later, its relatable message about acknowledging your own crises and peacefully accepting they’ll only be temporary.

Waterhouse begins in an ennui mood, singing “Everything’s going wrong/ tryna reach out, can’t find my phone” with a low and monotonous register against an electric guitar’s chords prolonged by an extended delay tail.

In the chorus, that dejected heroine is swept off her feet by a new state of mind, one which has found a new perspective in its familiarity with glumness. Waterhouse sings, “Could be the worst night I ever had/ Lose my mind, always get it back,” in a higher register as though ignited by her emotions. “Supersad”’s entire message is contained within the chorus line, “All of the tears, wish I never cried/ End of the world toll I’m doing fine/ There’s no point in being supersad”. Waterhouse has become so well-acquainted with her own panic mode and seen enough greener pastures that she can confidently reassure herself: even though the present is tough, it always got better and it will do so again.

What follows the chorus is an anthem-like rallying cry, an “Ooh-ooh ooooh, ooh-ooh ooooh/ There’s no point in being supersad” which soars above a whirlwind of emotion. It’s this section I frequently replay in my mind and is the part I anticipate when I replay “Supersad”.

Another strength for this track is its musicality. From the very beginning, a subtle bass guitar plucks along steadily, prolonging momentum even in the verses’ glum state of mind. A powerful kick flares throughout the song, reenergising the soundscape at the perfect time every time. Finishing with that “ooh-ooh ooh” refrain is rewarding tension and release, paid off with an abrupt cutoff and ending in a tapering reverb tail.

Although brief, “Supersad” feels complete as a song. It offers me the perfect amount of enjoyment and doesn’t outstay its welcome, rather it leaves me wanting more. I replay this track often. That the lyrics don’t allude to a specific situation but rather a state of mind, I think it will be universally relatable. I personally have related to this track, I’ve used it as my cheerleader and I have repeatedly got up to dance with it.

“Supersad” is available to stream now and its music video is linked below.

[gmqazi19739]

Dubstep Music - Top 20 Best English Music Download

Dubstep music, a genre born from the depths of underground electronic scenes, has stormed the world with its distinctive sound and unparalleled energy. Originating in the 1990s in the UK, royalty-free dubstep has evolved into a global phenomenon, influencing artists across genres and captivating audiences worldwide. This article delves into the essence of dubstep music, its history, characteristics, notable artists, and its profound impact on the music landscape. Best Dubstep English Music Free Download A Brief History of Dubstep Early Roots and Influences: Dubstep's roots trace back to the late 1990s in the London club scene, where artists and DJs began experimenting with new sounds. By blending elements of UK garage, drum and bass, and reggae, they created a unique style characterized by heavy basslines, syncopated rhythms, and spacious soundscapes. The Beginning and Origins of Dubstep: - Emergence: Dubstep emerged in the 1990s in South London’s underground music scene, influenced by genres like reggae, jungle, and garage. - Pioneers: Early pioneers such as Skream, Benga, and Digital Mystikz experimented with syncopated rhythms, sparse beats, and heavy basslines, creating a distinctive sonic experience. - Wobble Bass: A defining feature of dubstep is the "wobble bass," a deep, modulated bassline achieved by manipulating bass frequencies to create a pulsating effect, giving dubstep its signature intensity and energy. Development and Evolution: - 2000s Boom: The early 2000s marked the emergence of dubstep as a distinct genre, with influential producers like Skream, Benga, and Digital Mystikz gaining prominence. - Sub-genres: Dubstep evolved, incorporating elements from other genres, leading to the rise of sub-genres like "Brostep," popularized by artists such as Skrillex and Flux Pavilion, and "Future Garage," led by artists like Mount Kimbie. Defining Characteristics of Dubstep - Wobble Basslines: Central to dubstep is the iconic wobble bassline, a pulsating, modulated low-frequency sound creating a unique texture within the music. This signature sound is achieved through intricate synthesis techniques and precise manipulation of sound waves. - Pace and Rhythm: Dubstep typically ranges from 138 to 142 beats per minute, offering a unique rhythmic space for experimentation. The genre is characterized by syncopated rhythms, often juxtaposing half-time and double-time patterns, contributing to its hypnotic quality. - Space and Atmosphere: A distinguishing feature of dubstep is its use of negative space. By incorporating moments of silence and minimalism, producers create an immersive, atmospheric experience. Notable Dubstep Artists - Skream: Often regarded as one of the pioneers of dubstep, Oliver Jones (Skream) played a pivotal role in shaping the genre’s early sound with tracks like "Midnight Request Line." - Benga: Closely associated with Skream, Adegbenga Adejumo (Benga) contributed to dubstep’s development with tracks like "Night" and "26 Basslines," blending electronic textures with reggae influences. - Excision: Known for his heavy and aggressive approach to dubstep, Jeff Abel (Excision) has become a leading figure in the genre’s modern evolution, known for his intricate sound design and intense live performances. Impact on the Music Scene Dubstep’s impact on the English music scene is undeniable. It brought a fresh, cutting-edge sound that captivated both underground music enthusiasts and mainstream listeners. The genre’s popularity led to the establishment of dedicated dubstep nights at clubs and venues across the country, providing a platform for emerging artists and DJs. Dubstep’s influence extended beyond music itself, inspiring the creation of new dance styles like the "dubstep dance," characterized by intricate footwork and fluid movements. Its elements seeped into pop, hip-hop, and electronic music, showcasing its versatility and widespread appeal. Artists like Skrillex, who won multiple Grammy Awards, played a significant role in bringing dubstep into the mainstream. Despite its underground origins, dubstep has achieved global recognition, continuing to evolve and inspire new generations of artists. Conclusion Dubstep’s journey from its humble beginnings in London’s underground scene to its global prominence is a testament to its captivating and innovative nature. With its unique blend of bass-driven rhythms, atmospheric soundscapes, and boundless creativity, dubstep music continues to push the boundaries of electronic music, leaving an indelible mark on the musical landscape. Whether you are a dedicated fan or a curious newcomer, exploring the diverse world of dubstep is a sonic adventure worth embarking upon. Read the full article

[dustedmagazine]

Patrick Higgins — Versus (Other People)

Drawing from contemporary minimalism, electro-acoustic improvisation and electronic structures, the title track of Versus debuted in Berlin on a configuration of 75 surround system speakers. Even on headphones, the physicality and spatial design strikes you. Over 18 minutes, Higgins develops a twinkling planetarium of electric guitar notes augmented with keyboards and laptop treatments to produce a soundscape of composed and improvised elements. Subtraction is the first impression, then an increasing pressure as Higgins forms his atoms and they develop into nebulae. There is forward motion and moments of stasis and plateau, the evolution paused to take stock before branching out again. Higgins also plays with frequency. Cracks, buzzes and rumbling sub bass drones that vibrate through your viscera.

Drummer Bobby Previte guests on “Sirocco” as launchpad and counterweight against which Higgins builds propulsive intensity. He begins playing behind Higgins’ cascading circles then joins him as they explore tempo and repetition with increasing intensity. By the end, you imagine Jaki Liebezeit playing along to a Steve Reich composition. Previte also appears “Catalyst” which begins in a swathe of  Oval like glitch and buzz. Previte plays as if his kit is coming apart, Higgins like he’s trying to free a Friends of Dean Martinez track from the white noise of  malfunctioning roadhouse signs. “Faceless (Pulse)” is deconstructed dub, unshackled from all but the most rudimentary of beat and bass. Higgins scratches guitar notes across the surface as if ice skating over an active volcano.  “The Outside Doesn’t Dream of Itself” appears as an almost random sequence of disconnected thoughts, a subconscious fusillade of synaptic grenades which form patterns in the absences left by detonation. A sinewave felt more than heard is the threshold to “Little One”, after a minute a deep drone heralds the entrance of trumpeter Chris Williams, pensive but clarion clear in echoing space. It’s the most straightforward moment of Versus and acts as a sweetener for the album coda.  On “Aporia” (an irresolvable logical disjunction), Higgins breaks his music into its constituent parts and watches them try to get along. It sounds like a mechanoid rebel without a cause self-destructing on cognitive dissonance. A daring end to a brilliantly conceived and performed album on which Higgins embraces contradiction - physical and cerebral, control and chaos, composition and improvisation – and finds accommodations between and within extremes. Listen at volume to get the full visceral effect.

Andrew Forell

[thedailyfrequency]

John Summit and Sub Focus Unite On Electric New Single ‘Go Back’

John Summit has joined forces with the DNB legend Sub Focus for their highly anticipated new single Go Back. Released on Thursday, May 16, Go Back masterfully blends house and drum and bass for a captivating display of dancefloor alchemy.  Guided by the angelic vocals of Julia Church, the track begins as a heartfelt house anthem filled with emotional soundscapes and euphoric atmospheres that…

[hiphoptothestreets]

Sub Focus Is A Pioneer Of Drum and Bass Soundscapes

Sub Focus Is A Pioneer Of Drum and Bass Soundscapes

[kalaplugin1]

Arturia Augmented Strings Free Download

Tech Specs (MAC & Windows)

Software Type:Music Software

Platform:, MAC & Windows

Upgrade/Full Version:Full Unlocked

Download/Boxed:Download

License Type:Lifetime Activation

Format: VST2, VST3, AU, and Standalone host.

Hardware Requirements – PC:Intel / AMD Multi-core CPU, 4GB RAM minimum

OS Requirements – OSX : 10.13 or higher.

Reinvented Strings Plus A Full Suite Of Sounds

Arturia’s hallmark sound-modeling methods reach new heights with this dynamic string engine, offering a robust take on an orchestral suite. Sweetwater’s synthesists are pleased to report that Arturia has spared no effort to bring these strings to life, developing a unique fusion of sample-based audio with synthesized sound that is built on their award-winning TAE (True Analog Emulation) technology. This hybrid instrument incorporates a large variety of articulation and mic-placement configurations, with dedicated double bass, cello, viola, and violin. “Morph” functionality moves you between sample-based and synthesized layers, with multiple audio engines producing granular, harmonic, or wavetable flavors. Stack the mix with seven additional macro FX to orchestrate a dual-layer suite that transcends genres, coming to life in a way all its own.

Two Worlds Of Sound, One Simple Function

Augmented Strings thrives due to its tremendous sonic range, operating with two primary, parallel layers: the sampled and the synthesized. Lifelike, world-class samples can be used to stunning, evocative affect, thanks to its dedicated recording and re-creation. State-of-the-art synthesis architecture delivers a vast array of rich sounds, ranging from retro to futuristic. Whether it’s an explosive bass or a transcendental pad, use the Morph function to freely blend the digital with the real, yielding unprecedented opportunities for brilliant harmonic texturizing tools. Bolster a traditional string arrangement, or construct something wholly unearthly — the choice is yours, and the choices are endless.

Strings, Synths, And Sounding Between The Lines

The sample library is built on 22 musicians who have experience performing as soloists as well as in an ensemble setting, providing over 60 styles of articulation across double bass, cello, viola, and violin. World-class recording technologies, renowned microphones, and stellar preamps faithfully capture the dimensional depth of these strings, re-creating the detail, energy, and room-feel of live strings. The ingenuity behind Pigments and V Collection sounds are explored through four synth engines: virtual analog, granular, wavetable, and harmonic. Paint soundscapes with genre-defying color, supplementing timeless strings with endless textural opportunity, pairing perfectly every from the dance floor to the Odeon.

Morph-Ology And The FX Fortress

Eight total parameters comprise the core “Morph” function that conducts these blends. Color, time, and motion controls can be fine-tuned on the fly, each adjusting multiple sub-parameters, bringing forth dynamic adjustments to synth controls, modulators, filter placements, and more. Delay and reverb master effects can wash your strings in space, or be controlled with nuance, thanks to the dedicated A and B FX channels. The Augmented Strings suite is ready to go, right out of the box, working as a standalone instrument or alongside every major DAW. Plus, it welcomes seamless MIDI integration as well.

Arturia Augmented Strings Features:

Easily and intuitively blend robust strings and stellar synths with the simple “Morph” function to bring your strings to new life

Full suite of double bass, cello, viola, and violin sounds via expertly recorded samples

Over 60 styles of articulation are paired with world-renowned recording methods to provide near-endless opportunities for acoustic expression

4 synth engines use award-winning, state-of-the-art synth architecture to deliver virtual analog, wavetable, granular, and harmonic textures and tones

Rich array of synth sounds allow for genre-transcending possibilities

50 factory presets offer a variety of starting points for crafting compelling soundscapes

Macro FX let you control multiple parameters on the fly, adding greater depth and nuance to constructing luscious sounds

Works as a standalone instrument or alongside any major DAWs

MIDI integration makes for straightforward control opportunities in live and studio settings

Mac/PC Standalone, VST 2.4, VST 3, AAX, AU, NKS (64-bit DAWs Only)

[maxbrodbeckfilmblog]

The Hands of Men - Sound Design

I also did the sound design for The Hands of Men, through the Cinematic Post Production Module. This meant I was able to accompany my cinematography with sounds which corresponded with my own personal creative vision.

Atmos

I began the sound design with the atmos. We wanted the atmos to play a major role in establishing the unsettling and surreal tone of the film. The director gave me Eraserhead as a reference, which has perhaps the most unhinged sound design I've ever heard, which was an exciting prospect. After rewatching Eraserhead I worked my way through every sound on Soundly until i found the greatest wind noises of all time. I layered them ontop of radio static, on set room tone, laundromat sounds, rainfall, cave rumbles and more and ended up with 10-15 tracks of sound effects I intended to bring in and out to create a base for our soundscape.

I experimented with plugins on each track and found that Pitch Shifts came in handy on almost every single one. Seperating the sounds further in pitch created a fuller, denser sound which I think worked well. Once I was happy with the sound of each track, I noted which of the tracks I thought would work best over each scene of the film, and spent an afternoon changing the levels to create a coherant, but unique feel to each scene. For example, scene four is slightly rainier, scene three is staticy, scene five is windy, etc.

The atmos was adjusted further to account for the action of the scene. The Sub-Bass track that runs throughout swells with the pain when violet looks at Richard's hand. There are four key moments where the atmos grows with the tension of the scene and then hard cuts out into the next moment, from scene 2-3, just before the dolly zoom, from scene 3-4 and at the amputation.

I love the combination of the sounds I've chosen. I think I could have worked further in the levels of them to exaggerate the differences and characterise each scene and moment futher, but overall I am very pleased with my atmos.

SfX

To go with the thick, noisy atmos I'd built I worked on some pretty ridiculous, over the top sounds to pair it with. I'll work through scene by scene and detail the design.

1

The gift wrapping is mostly sounds recorded on set on the boom mic, treated and brought out of their soundscape to work ontop of my atmos in a heightened state.

The door opening is a sound I found. I tried many doors, but this door is easily the best.

The creak is from a sound effect used later, this was added late in the design and just works to play off the stereotype and add character to the scene.

The door slam is from on-set, enhanced and brought loud in the mix to work as a bit of a jumpscare in Violets mind. The atmos first changes in time with its slam.

2

The sounds the hand makes when Violet pokes at it are snapped twigs, they are pitched to sound like bones cracking. I am especially proud of the second poke, which sounds like they are actually about to pull his finger off and he's just fine with it.

The fork sound is a combination of a fork scraping against seramic and a large metal object hitting wood. I played with the plugins until this sounded as good as I could get it, but I would like to work futher on this sound. The atmost changes again on the sound.

3

The footsteps are recorded by our director Paula on a creeky floorboard in her flat, paired with found footsteps of socks on carpet. They are subtle in the mix but work well with the tone of the film.

The unwrapping sound is mostly from on set, emphasised similarly to the wrapping at the start.

The Dolly zoom is an amalgamation of things. First of all there is a gasp and a violin shriek, which articulates the light change and with it comes an entirely new soundscape. Violins scorced from the internet spiral in tandem with rising backwards screams, sizzling and hissing sounds. As it gets louder we hear moaning sounds I was unable to get a WAV of, so are MP3 files, for obvious reasons I did not record these sounds, though they are not copyrighted.

5

The amputation is the same noise as the fork in scene 2, but with different plugins to emphasise it and add weight. Over this there is celery snapping which comes back when the hand grows.

There are slurp sounds made vocally to imply the regrowth of the hand.

THE HAND NOISES

The sounds the hand makes when it hurts were the focus of my sound design work. I love the results.

At first we used the sound of an old kettle coming to the boil, which worked amazingly but got really annoying when it happened throughout the film, so Paula suggested we replaced it with microphone feedback. The microphone feedback works to embody the mental reaction to the pain and creates a migrane esque feel to it. Under this there is eggs frying, distant screams in reverse, a camp fire in reverse, fireworks and what's left of our original kettle, along with a rise in some of the atmos tracks. The final sound is a bit like a burn, which was the idea. For reference I took from the sounds used in films when vampires are exposed to sunlight, as this is the effect I imagined when Violet looks at Richard's hand.

Mix

The mixing process for this film was crazy. We wanted the sound to be as busy and noisy as possible, whilst also having plenty of room to grow and grow to enhance certain moments of the film, such as the dolly zoom or the amputation. I spent quite some time playing with how much I could push the atmos against the dialogue whilst never making it the focus of the film, and I think I have it at a good level in each moment of the film. However, when it was played on the big speakers in the crit the atmos is completely burried in the mix, so it's possible I should return to this and raise it throughout.

The Sound effects get louder and louder throughout, and some key moments like the footsteps, the chop or the regrowth are a little lost in retrospect and require further attention. I will certainly keep working on the mix, as I think it really elevate the film beyond where it is at.

Overall I am so happy with my sound design. This film is very special to me and I'm so glad it was the first thing I did the sound for. :)