The gear and production world is off to a bit of a slow start in 2014, with everyone waiting for NAMM to pull out their big news. (Thankfully, it’s just around the corner.) In the meantime, we’ve gathered up a handful of interesting tidbits for curious producer including an update on Sennheiser’s new line of headphones, a review of Arturia’s new KeyLab controller, info on Dubspot’s DIY synth-building workshop, and a quick guide to getting Daft Punk’s sound without using Daft Punk’s gear.
For our first gear review of 2014, we take an in-depth look at Arturia‘s KeyLab series of hybrid controllers/digital synthesizers, deeming the units “a new contender in a crowded field of MIDI controllers seeking to break down the barriers between software sound design and tactile control.” Read our full review here.
As part of this week’s CES conference in Las Vegas, Sennheiser unveiled three new models of headphones: the HD6 Mix, HD7 DJ, and HD8 DJ. All three models are said to take cues from the design of Sennheiser’s classic HD25 headphones and offer a few different features aimed at studio and DJ use. The video above gives a brief introduction to all three models (which, as of now, do not come with any pricing details); more information can be found here.
Earlier this week, New York-based production school Dubspot announced the launch of Dubspot Labs, an ongoing series of special events and workshops that will begin this weekend with a six-hour seminar on the basics of building synthesizers. Enrollment in the first limited-size, one-day workshop is $195, which also includes the raw materials necessary to complete the course. More information can be found here.
Setting aside Random Access Memories for a moment, there is little argument that Daft Punk has crafted an enviable, if not iconic, sound over the years. Unfortunately for those bedroom producers hoping to emulate the French duo’s sonic palette, many of the pair’s tools of the trade are out of financial reach for those without platinum-selling records. But in a recent article on Noisey, gear aficionado and self-proclaimed eBay expert Davo McConville has put together a guide of more affordable sonic tools to replace the bank-breaking gear essential to Daft Punk’s arsenal. McConville’s quick and easy guide can be read in full here.
After spending most of December looking at the year gone by, we here at XLR8R decided to kick off January by casting our gaze toward the future. That’s what Bubblin’ Up Week is all about, and this year’s edition has already taken in-depth looks at several artists and scenes from around the globe. Still, before we could officially bring the series to a close, we knew that there were still plenty of up-and-coming beatmakers whose potential merited a bit of attention. Given that, we’ve selected 10 artists that we’ll be keeping an eye on in 2014.
Although LA producers Cromie and Sage Caswell are not officially a production pair, we have quickly grown accustomed to seeing their names appear together, mainly due to last year’s collaborative “Vines” b/w “Pyrex” 12″ for Peach, which kicked off the label’s run with two percussion-led tracks that bounced somewhere between tropical dance music and soulful house. In that record’s wake, Cromie is currently readying a solo EP to inaugurate the Rhonda International label (a new endeavor of reputable LA party A Club Called Rhonda, where he is also a resident DJ), while Caswell is prepping solo EPs for Parisian label Decabaret and Urulu’s Amadeus imprint, as well as working on a new project with Brooklyn’s Archie Pelago. On top of all that, we’re told that the pair will be putting out another proper collaborative EP before the year is through. Cromie and Caswell clearly have a prolific 2014 planned—the hard part will be keeping up. Glenn Jackson
Born in India, Connecticut, and Morocco, respectively, Dawn of MIDI‘s Aakaash Israni, Qasim Naqvi, and Amino Belyamani gelled as a musical three-piece after nights of playing friendly tennis matches together. With an upright bass, piano, and percussion—instruments normally used in a classic jazz trio—the Brooklyn-based outfit has honed a proudly repetitive, yet deceivingly complex sound from organic tones by riding simple, motorik grooves in polyrhythmic spirals. On 2013’s Dysnomia LP, the group culled years of improvised live sessions into a hyper-focused package that shares more common ground with minimal techno than jazz. In the live setting, the group’s critically lauded performances mix between cuts like a smooth DJ set, slowly shifting from one piece to the next while the trio remains fully in control of the proceedings. Heading into a run of US and European tour dates, 2014 could be a breakthrough year for Dawn of MIDI. Chris Kokiousis
Fis molds drum & bass into something almost unrecognizable, transmuting the genre’s typically weighty bass fixation into thin, muted whispers of time-stretched breaks. The New Zealand producer garnered some notice for his “DMT Usher” single back in 2012, before he was picked up by forward-thinking outpost Tri Angle for last year’s Preparations EP. That release’s four tracks stunned and beguiled in equal measure with their decaying timbres, mutant stepping rhythms, and an uncanny, skeletal sketchiness. Unapologetically dark, Preparations‘ unsettling atmosphere and seemingly morbid interests made it an oddly perfect fit for Tri Angle, despite the producer coming from a background that’s largely foreign to many of the label’s artists. Even in the context of drum & bass’ resurgence over the past year or so, there’s little question that Fis is exploring some exciting, uncharted territory within its deepest, darkest corners. Tim Gentles
Florian Kupfer seemed to appear out of nowhere last March, when L.I.E.S. dropped the Berlin producer’s debut “Lifetrax” b/w “Feelin'” 12″. The two variants of “Lifetrax” found on the record’s a-side provided swished and spectral techno ambience, but “Feelin'” proved to be an uncommonly brilliant sleeper hit, its melancholic vocal sample and smudged synths capable of worming their way into the psyche. Arguably among last year’s most emotionally resonant releases of any genre, the single pairs woozy, affecting atmosphere with a fairly robust, US garage-inspired swing, making Kupfer perhaps the most promising new artist in the L.I.E.S. stable. His contribution to the label’s year-end Music for Shut-Ins compilation flashed a more cacophonous side of Kupfer, though his recent remix of NYC-based singer/producer James K reconfirmed his talent for manipulating the female voice. Though there’s presently no concrete news about upcoming new releases, it’s safe to say that whatever 2014 brings from Kupfer, it will probably be off-kilter, deep, and beautiful. Tim Gentles
The past year has shown that there’s more to New York’s dance music underground than just the noisy rhythms of L.I.E.S. An alternate direction comes by way of White Material, an imprint that’s sympathetic to the contemporary current of East Coast abrasion, but also offers a more polished New York house sound. Galcher Lustwerk is one of the label’s principal artists, and though he’s only released one EP so far, his mixes and teasers point to a well of talent. Lustwerk’s instrumentation and arrangements point to the sweaty late-night energy of artists like Chez Damier and Jovonn, but his true calling card is his voice. On Tape 22, Lustwerk’s EP debut, he waxes lyrically over his tracks, assuming a drawling, half-rapped cadence that lends his work an emotional depth that would otherwise be absent without the obvious human connection. That record was promising, but even better was his all-originals mix for Blowing Up The Workshop, 100% Galcher, which strongly hinted that the young producer has quite a bit up his sleeve for 2014. Derek Opperman
Not a whole lot is known about the personal details of Miami producer Greg Beato, but his tracks do plenty of speaking on their own. He’s released material on L.I.E.S. (and its Russian Torrent Versions offshoot) and Funkineven’s Apron imprint, and so far, his sound has stuck closely to the aesthetic hallmarks of those two labels, with a pared-down approach that applies the fuzzy filters of low-bit-rate sampling and overdriven channels to the guideposts of dance music’s past. Still, Beato’s music is far from the pure aggression often associated with today’s noise-inclined artists, as his output carries a melodic sweetness that serves to lighten the abrasive edge of his percussive choices. His drum programming is often complex, but a penchant for soulful flourishes helps him get at the breadth and depth of old-school deep house while staying firmly rooted in the present. Derek Opperman
(Photo by Deirdre Lewis)
Scuffed and lo-fi, strewn with metaphorical dust and debris-ridden sonics, ‘outsider house’ was everywhere in 2013. One of the jokingly monikered trend’s most interesting, underappreciated figures is Dublin producer Lumigraph, whose Nautically Inclined full-length on Opal Tapes provided plenty of unexpectedly jacking moments among its more cerebral, downcast fare. “Tampa Awaits” is a standout from that release, a song that marries a heavy, stuttering beat to woozy, seasick synths; it’s not exactly primed for the dancefloor—tape hiss covers practically everything on the record—but the track nevertheless makes for heady, immersive listening, and is more rhythmically inventive than most of what passed for house this past year. (It’s worth noting that his other 2013 release—the Yacht Cruiser EP for NYC institution Mister Saturday Night—did look towards the dancefloor a slight bit more.) Lumigraph has the rare gift of being able to close the gap between the more cerebral tendencies of experimental and lo-fi sounds and the basic building blocks of house and techno; his tracks are shambolic in a way that’s endearing rather than put on, and this playful functionality leaves us excited to hear what’s next. Tim Gentles
2013 saw plenty of new names emerge within the resurgent grime scene, but London’s Mssingno may have been the most successful up-and-comer to stake a claim. As the year’s final months came to pass, the UK producer delivered the soaring “Brandy Flip” (which managed to make the dangerously stale formula of pitched-up Brandy vocals and neon-laced synths sound fresh again), turned in productions for heralded grime MC Cas, and dropped a debut solo EP via the fledgling Goon Club Allstars label. Touching down in November, Mssingno’s self-titled outing not only turned heads in grime’s UK strongholds, but also managed to gain steam across the pond, largely on the back of “XE2,” a dizzyingly colorful and melodic slice of instrumental grime peppered with enough re-tuned R. Kelly and Toni Braxton samples to make it an anthem of sorts. At the moment, Mssingno is someone whose personal details are largely unknown, and his plans for 2014 remain unclear, but if the last two months are any indication, whatever the ensuing year brings from Mssingno will almost undoubtedly be worth checking out. Glenn Jackson
After spending a few years crafting more garage-indebted affairs as Drop/Dead, Berlin-by-way-of-London transplant Jay Donaldson spent the end of 2013 exploring the intergalactic ends of Midwest house music under the name Palms Trax. The project’s debut EP, Equation, inaugurated the London-based Lobster Theremin label back in October, eliciting comparisons to the hardware-streaked productions of Legowelt with its combination of space-warped Detroit soul, lightly jacked drum-machine rhythms, and shades of experimental looseness. In 2014, Donaldson appears anxious to build on the momentum of Palms Trax’s debut; a live show is set to premiere later this month, and will be followed by a re-release of the Equation EP in February. A second Palms Trax EP (complete with a remix from Galcher Lustwerk, an artist Donaldson has also remixed in return) is set to appear in March, fitting within the man’s busy schedule, which also sees him helping out with A&R duties for Lobster Theremin, working on separate collaborative projects alongside Belgian producer Innershades and British mainstay Braiden, and serving as a member of the Chicago Flotation Device trio. Glenn Jackson
Though he’s not exactly new to the game, Ratcatcher effectively introduced himself to a whole new set of listeners late last year as a featured producer on Doc Daneeka’s “Walk On In,” a bass-loaded, filter-heavy house tune that we ultimately named as one of our favorite tracks of 2013. The Welshman’s alias may strike some people as odd, but his resume is hard to argue with; long before “Walk On In,” Ratcatcher cut his teeth crafting heavy-handed house and garage workouts as one fourth of C.R.S.T before quietly releasing solo material on Cardiff’s Catapult imprint and making an appearance on the Blind Jack’s Journey series of 12″s. Next month, he’ll be dropping a new solo 12″ via the quietly ascending Peach label; the record will also include remixes from Leon Vynehall, Benjamin Damage, and fellow “Artists to Watch” Cromie & Sage Caswell. With any luck, there will be several more Ratcatcher efforts before the year is through. Glenn Jackson
Afterhours is the simple-yet-appropriate name of Los Angeles resident Nicholas Crozier Malkin’s production project. The electronic musician and radio DJ (he hosts a long-running 11-to-midnight radio show known as Field Recordings of the Afterhours) takes much of his inspiration from the solitary atmosphere and melancholic mood of his city’s late-night/early morning hours, a fact heavily reflected in the “cinematic and nocturnal” pieces which make up his forthcoming Lowlife LP for Not Not Fun. Among the record’s six tracks lies the particularly moody “Defragment #2.” The production finds Afterhours taking a slow stroll through spacey pads, tuned bell percussion, and floating clouds of analog mist while maintaining a steady and understated four-on-the-floor pulse. It all seems to make sense until the songs final 30 seconds arrive, during which Malkin reveals a surprise twist that leaves us a bit confused, but also intrigued to see where else Afterhours’ moonlit journey ventures when his Lowlife LP drops on January 28.
We’ve got quite the selection of sounds in today’s Press Play feature, including DJ sets, EP streams, remix premieres, music videos, and quality original tunes from the likes of Jimmy Edgar, MK, Morri$, Sd Laika, John Tejada, Kid Smpl, The Field, Basic Soul Unit, Lorca, and more. Some of it is downloadable, some of it can only be streamed, but all of it is worth a listen or two.
Sam Smith “Money On My Mind (MK Remix)”
Ricardon Donoso “The Redeemer (John Tejada Remix)”
Boys Noize “What You Want (Jimmy Edgar Dub Remix)”
Appearing on Shigeto‘s SoundCloud this week, the Detroit producer’s remix for budding Glaswegian Soosh is said to have been made “a while back, maybe late 2011/2012.” The artist born Zach Saginaw (pictured above) continues to explain, “We never found a home for it, but I met up with [Soosh] recently in NYC and got the blessing to give it away.” Whatever the path Shigeto’s “What We’ve Been Thru Redux” of “Always” took to get to us, we’re certainly glad it’s here, as the slow-moving, hiss-laden remix is another welcome slice of jazz-infused goodness from the Ghostly affiliated producer/drummer/jack-of-all-trades.
As part of this week’s CES conference in Las Vegas, Sennheiser has unveiled three new models of headphones. The HD6 Mix, HD7 DJ, and HD8 DJ are currently on display at CES and expected to be out sooner rather than later, with each product offering a slightly different take on the design of Sennheiser’s classic HD25 headphones. All three models come with two replaceable stereo cables (one coiled and one straight) which can be plugged into either the left or right can. Furthermore, the HD7 and HD8, which Sennheiser bills as the DJ-aimed models, feature a new flexible swivel design on each ear cup. The video below gives a brief introuction to all three models, and more detailed information can be found here. As of now, no exact pricing or release date has been revealed, but those details are expected to come in the near future.
Miles Whittaker (of Demdike Stare) and Andy Stott (pictured above) have come together to issue a new 12″ as Millie & Andrea, the pair’s collaborative project that hadn’t released new material in over four years. Millie & Andrea’s single-sided “Stage 2” single is said to preempt a proper full-length from the pair, which is expected to see a release later this year via Modern Love. Non-album cut “Stage 2” mixes Whittaker’s and Stott’s noted penchants for dark textures and limit-pushing sonics, with an unexpected nod to trap rhythms as well. Millie & Andrea’s new tune can be previewed over on Boomkat, where the limited 12″ is also available to purchase. (via FACT)
After appearing as a co-producer on Doc Daneeka‘s anthemic “Walk On In”—a tune we named the second best track of 2013—Welshman Ratcatcher has unveiled details of a forthcoming solo EP for Brooklyn’s fledgling Peach label. Along with two new original tunes from Ratcatcher, the Somehow/Motion EP will also feature remixes from Leon Vynehall, Benjamin Damage, and fellow Peach artists Cromie and Sage Caswell. Before the five-track effort sees an official release on February 24, a preview of Ratcatcher’s upcoming EP can be heard below, where its tracklist is also included.
April of last year saw Solar Bears release its ambitous sophomore album, Supermigration, via Planet Mu. Now, just over a week into 2014, we’re told that the Dublin pair is already at work crafting its third full-length, a process the duo apparently took a brief break from in order to put together a brand-new unconventional mix, which is now available to stream and download for free exclusively on XLR8R.
Incorporating 10 tracks of psychedelic-streaked pop from decades past, flashes of cosmic disco, some deep soul, and even a Death in Vegas track (don’t worry, it’s not “Days Go By”), Solar Bears’ mix covers a lot of sonic territory, and perhaps gives a little insight as to where the duo’s head is currently at as it goes to work on the as-yet-unnamed next LP. Solar Bears’ American Friend mix can be streamed and downloaded using the player below, where its tracklist is also available.
01 Brigitte Fontaine – Il Pleut 02 Stelvio Cipriani – CIA agent 03 Bruno Nicolai – Magico Incontro 04 Daniele Patucci – Fred Love Theme 05 The Delegations – Oh Honey 06 Goblin – Buio Omega 07 Riz Ortolani – Il Corpo Di Linda 08 Cerrone – La Secte De Marrakech (1ere Partie) 09 Death in Vegas – XXX 10 Nico – My Heart Is Empty
Manchester-based DJ/producer Krystal Klear has seen a fair share of success over the years, working with labels like Rinse, MadTech, and All City to release his brand of funk- and boogie-infused house music. For his next endeavor, the artist has decided to launch his own imprint in order to focus specifically on his club-minded productions. Called Cold Tonic, the label will issue its first record in the form of Krystal Klear’s “Squad” b/w “Turn Valve” 12″ on February 3, the a-side from which is currently available to stream below. (via Resident Advisor)
