Posts Tagged ‘drum & bass’

forecast for 2011: ill music ahead.

January 8, 2011

…and another post about fresh and exciting new music. Welcome to 2011.

I should admit at the outset that musically it’s hard for me to contain my excitement; for some reason it just seems as though all the music I’ve been hearing lately is amazing. And quite a lot of the electronic dance music I’ve been hearing is really beginning to unsettle a lot of my assumptions about what that category really means. There’s just a lot of good music coming out lately. It’s an exciting time to be interested in producing music – really an exciting time for absolutely anyone interested in envisioning the future of what the “music industry” might be like.

New stuff I’ve been hearing is fresh, and interesting, and dope – and more and more, blurring the lines between genres of electronic music faster than new ones can be created. And some of the new “genres” that have been cropping up reflect (at least to me and my ironic sensibilities) some serious grasping at straws. I mean, “brostep?” “Post-dubstep?” “Future bass”?

Actually, I think the latter is sort of innovative…but overall, what does this ever-abounding and increasing proliferation of genres really signify?

And if it almost seems like a sign of desperation (this persistent generation of new categories that struggle to keep up with the unclassifiability of the more hybrid and unclassifiable new frontiers of electronic dance music today), isn’t such desperation perhaps a positive indication? It seems like our capacity for naming things is frenetically being outpaced by the creativity and originality of a lot of the newer dance music of the past couple of years. (And I’m not just referring to developments in “dubstep,” “UK funky,” and “future bass” but also to newer stuff I’ve been hearing in the somewhat more well-established genres of drum & bass, minimal house, techno, grime…really the list goes on and on.) All I can say is, wicked. Bring on the freshness for 2011!

Commence my list of some of the freshness that’s been gracing my ears lately:

First to top off the list is IKONIKA. Ikonika, a.k.a. Sara Abdel-Hamid is KILLING it right now. I really liked her track Dckhdbtch (click the link to give it a listen via Boomkat). Definitely buying some of her stuff. She’s also going to be playing a few dates stateside and at MUTEK this year, so watch for that, especially if you’re in NY or LA.

I have Resident Advisor to thank for the following lead: a cutting-edge label from Germany called Fachwerk (myspace | mix / interview via RA).

I know it’s 2011, but I’m still craving more Basic Channel (site | digital releases via Boomkat ). I just bought a couple releases from the Scion sessions. Deep, deep, deep.

More music updates to follow shortly. I’ve got my fingers crossed that Portishead will make their move back into the studio and put out new material in the foreseeable future. Their last album, while different and perhaps challenging in certain ways, was good – at least, I liked it a lot, and so did other Portishead fans I talked to. I’m looking forward to hearing new stuff coming out of the Duck Down camp (will most likely be copping Buckshot’s forthcoming book – and speaking of hip-hop literature, the forthcoming book from Malice of the Clipse called Wretched, Pitiful, Poor, Blind, and Naked will be on the “must cop” list as well.) Overall I don’t even have much to say about hip-hop right now except that I’m well behind the times – but I do think this is a great time for hip-hop. There is tons of great stuff coming out and a high likelihood of lots more in 2011.

What else, what else? Oh yeah – I’m still really behind on the dubstep front, but one name has already captured my attention: Ramadanman (siteApplePips podcast). Great producer, and awesomely cool name too I might add. I just purchased the Ramadanman E.P. from last year, which he put out on his own imprint, Hessle Audio. I can’t resist posting the video for the last track on the E.P.: breathtakingly awesome jungle amazingness:

And, of course, there is so much more good music that’s been coming out that I’d love to write about. But it is now the following day from when I began this blog entry (no, I wasn’t writing continuously – I put it on hold last night to buy mp3s and go mix at a friend’s house), and now the shower is calling. Happy 2011 to all my bassheads, friends, and people everywhere!

fresh music roundup/ personal update…

December 24, 2010

What’s up everyone?

Akiva here. I haven’t posted an entry in quite some time. The following represents an attempt at a brief summary of what I’ve been up to, and also a recap (as always at least as much for my own benefit as for my readership) of some of the great music I’ve been hearing lately.

Here goes…

Well, firstly, I fulfilled a long-standing goal earlier this month when I bought the Apogee Duet and Logic Studio – two powerful audio tools that will go a long way toward helping me begin to establish a small home-based audio production studio. How exciting! I’ve barely begun to scratch the surface of Logic, but I do have some previous experience with audio software so I don’t feel like I’m totally starting from scratch.

This purchase, though, is undoubtedly a big part of why I’m so excited about music right now (and the improvement in audio quality after I got the Duet set up was noticeable). Here are some highlights for me as far as stuff I’ve heard that’s either come out recently or is forthcoming (warning: this list will be rather eclectic):

1. My Father Will Guide Me Up a Rope to the Sky: Swans (site). Let me be blunt: I was fucking ecstatic to hear that Michael Gira decided to reunite the Swans. This album does not disappoint. The first track, “No Words / No Thoughts,” which clocks in at 9:24, starts out ambient, and builds menacingly and forebodingly for minutes until it explodes into a repetitive riff that breaks down into the familiar Swans “wall of sound”…a sequence that refreshingly goes on and on, as though to make up for the years of silence since the Swans disbanded in the ’90s. It’s a wonderful album.

2. 2D33P is a new drum & bass project and label from Trace and Voyager, “focusing on the ’94 vibe and beyond.” All you really need to do is click that link (it leads to their soundcloud page), and listen to the tracks. Unless your soul is immune to sub-bass frequencies and breakbeats (in short unless you don’t like jungle and aren’t willing to be receptive to something new), you’ll see why I’m excited. I’ve also heard a couple clips of tracks forthcoming in 2011 on Trace’s legendary drum & bass label DSCI4.

Speaking of which (and I’m going to probably going to do an entirely distinct post just for this, because I don’t want the link to get lost in the mix), there is a link on the DSCI4 soundcloud page to a mix by Trace and Ed Rush from 1997 called the No U Turn Experience. If you have any interest in drum & bass history, `90s era techstep, and the legacy of underground institution that is No U Turn, don’t pass it up.

Looking at iTunes, I’m beginning to realize I probably only bought one or two releases this entire year. You know what? That’s not going to stop me. I’m going to tell an uber-brief story to illustrate why I think dope releases from 2009 and even (dare I say it?) 2008 are still worthy of mention…

Two days ago, I happily checked out a free track being given away by Blu Mar Ten for Christmas. It’s a total banger. Anyway, some asshole posts a comment, like, “Wow, this track is amazing – can’t believe it’s four years old!”

RIGHT – because it’s only in the last three years that technology has finally enabled us to make amazing music! Everything before then, while still noteworthy, is now going to be relegated to a bygone era. Because…now every producer can afford a DAW, and Ableton and Autotune and etc. etc. etc. Thank God that after millenia of primitive audio production techniques good music will finally be within our reach…OK, now that the rant is over, I’m simply going to say that there’s so much good music that’s always coming out, I’m obviously at least two or three years behind even on the stuff I like to follow most. . . like hip-hop and d & b.

3. Something that’s fresh right now…Duck Down Records!! These guys are KILLING it right now. I still need to catch up on the last five years of dope releases from them. My “to cop” list includes some of the Buckshot & 9th Wonder collabs, the Heltah Skeltah albums that have come out since they reunited a couple years ago…Sean Price’s solo stuff…Boot Camp Clik…oh my god, the shit is fresh. Brooklyn is definitely on the map right now.

4. I gotta mention my man Dash Speaks, a very talented MC, DJ, and producer that I went to high school with. What he does is fresh and original – I just downloaded his album Geography a couple months ago and really, really liked it. His lyrics and approach are unique; the production is an innovative hybrid between hip-hop simplicity and a sort of electronic dance music synth / beat aesthetic, making the album accessible without sacrificing its integrity (if you ask me).

As a matter of fact, you can too. Check a review and free download link here. Dash, Speak brother!

5. It came out last year, but Rakim’s Seventh Seal is fire. Go get it if you haven’t already.

6. While dubstep and dubstep influenced bass-heavy music has continued to become increasingly trendy, drum & bass producers and labels have been stepping up their game over the past year and many of them are killing it. A label that has consistently delivered in terms of quality and originality has been Critical. Without getting too sappy or gushing praise, I gotta say that Critical exemplifies what’s good and what’s always been good about drum & bass. The sounds are varied and diverse. The production quality is always high, and the tracks tend to be on the moodier and techier side, but other than that, the criteria seem to be whatever Kasra thinks fits the label, which is a good approach, and has really allowed Critical to hone and define its own sound. I love what they’ve been doing.

7. A label I’ve had my eye on for quite some time, but which has really put itself on the map and garnered some attention in 2010 is Shogun Audio. Friction has done a good job showcasing a diverse range of musical talent. I would have to say that it is labels like Shogun, Critical, Exit (D-Bridge’s label and one of my faves – killing it right now) that have done a great deal to release material that reshapes the templates for what we used to define as “techstep,” “liquid,” and so on. Rightfully, much of the new d & b straddles several of these arenas. I’m also really happy to see the stripped-down sound that D-Bridge, Instra:mental, and Spectrasoul are pushing to start to get more acceptance. When Shogun Audio first showed up on the scene, I expected Friction to release forward-thinking d & b with deep roots in techstep and the “neurofunk” tradition. Of course, he did; but over the past year he’s also been pushing the envelope with tracks that hardly fit that description. His podcast has featured guest appearances from the likes of Spectrasoul, Lenzman and Rockwell. Shogun is killing it, and doing its part to help shape the new sound of drum & bass for the 21st century. With new material from Alix Perez and Icicle, Friction seems to have done a good job balancing releases from established artists with stuff from more up-and-coming producer. Cheers to the Shogun Audio massive…assassinating the global scene right now.

8. Frankly (and this could just be a reflection of my musical tastes changing), although I’ve always respected them but never been a hugely dedicated fan, I’m kind of warming up to Hospital Records. Obviously they are a total institution by now, and with fresh and hugely popular new acts on their roster like Netsky, they hardly need my endorsement. But I still want to recognize this label for their contributions. Again, a few years ago it seemed like you could pretty much sort d & b tracks by category: liquid, neuro, roller, jump-up, wobble (remember “clownstep”?), hardstep, ragga, jungle…FUCK that! Listen to the new d & b and it’s liquid / neuro-funk / dancefloor / tech. jungle. THAT’s what I’m talking about. (A LITTLE more innovation with the breaks probably couldn’t hurt…but my point is simple: d & b is fresh now so fuck the haters! Frankly more dubstep illustrates the problems associated with d & b than d & b does these days. But feel free to make use of the comment form if you want to argue that point – this is swiftly turning into a rant.) Although in any case, I gotta say, the old school vibes are making a comeback. And that’s something that makes me happy.

9. I guess now that I’ve consulted my iTunes library, I realize that Nine Inch Nails’ free album the slip was actually released in 2008. But I only found about it and downloaded it a few weeks ago. Well, it’s good. Thanks for the free music Trent…and for keeping Nine Inch Nails alive. rock on! And while I’m on the topic of 2008…Portishead‘s Third is fucking awesome. Bleak and cynical and wonderful. It took me a few listens to get into it. Totally worth while. Here, watch the video for Magic Doors.

(I’ve got to grab some dinner…to be continued)

P.S. Bonus video link…O.G.C. – Hurricane Starang. With Heltah Skeltah. It’s a real banger, not to be missed.

Still to come…artists I’m just beginning to discover and still want to check out…labels to watch…producers to watch…forthcoming albums I’m excited about. The round-up will continue! Peace, love and enjoyment…hope everyone that’s reading this has enough reason to stay positive going into 2011. I’m out.

new mix up for download

February 13, 2010

So I mixed for about an hour today and recorded the session. Not all the mixes are that clean, but I’m perfectly happy making it available for download anyway. There are some definite older gems in here, too. (And a couple records that aren’t too ancient). =]

click here (or right-click and save as…): a forgotten present

<megatech> <megatech> <megatech> <megatech> <megatech> <megatech> <megatech>


jonny l: synkronize {metalheadz)

the clipse: cot damn {arista}

juju: magia negra {breakbeat science}

livewire: the zone {big cat records japan}

cause 4 concern: sensors {c4c recordings}

delta & format: move me {reinforced}

future prophecies: electronic funk {subtitles}

technical itch vs. kemal: signal trace {moving shadow}

rymetyme / optical: shapecharge {1210}

>>>keaton & verse: redemption<<< {refuge}

keaton & hive: no hope? {refuge}

psychosis: blue skies (ray keith remix) {trouble on vinyl}

dom & roland: can’t punish me {moving shadow}

skeptic: tear {a-sides}

dune: contact (dune remix) {breakbeat science}

d-bridge: original world {exit}

        • <megatech> <megatech> <megatech> <megatech> <megatech> <megatech> <megatech>

music to check out…(a free association)

August 13, 2009

For someone that loves music and listens to all kinds of it, I am decidedly unadventurous about it. I don’t really buy music – that is, I pretty much only buy vinyl, and when I do it’s usually somewhat DJ oriented, and in any case I only really by stuff I come across in a shop or online.

So here I’m compiling a short list of music I’m interested in checking out (or maybe listening to a little bit more). I’m going to let it build for a little while; I think the results might be surprising.

I guess I’ve been listening to so much electronic stuff for a while that I need to diversify a bit. I’m going to try to represent some of the breadth of the musical styles that interest me in this list, and then hopefully I’ll develop some ideas of stuff to track down.

Although basically I think there are more or less two categories: newer releases or stuff I’ve missed in genres I’m pretty familiar with, and more obscure / indie / avant-garde stuff I’ve never really come across. Or actually that isn’t right at all. It’s that there’s some stuff I’m familiar with, but would like to become more so – like Sonic Youth or Fugazi (I know, weird examples) – and then other stuff that I haven’t really heard but know I would like to – like Kayo Dot, or Merzbow, or more J Dilla stuff since I’m always a couple years behind everyone else (these really are some strange examples).

Perhaps strangely, topping of the list (and the only artist that really comes to mind at the moment) is Angels of Light – which for those who don’t know is more or less the solo project of Michael Gira (Swans).

OK, this list isn’t going to make sense to anyone else anyway. So, yeah:

Angels of Light (I love the Swans. Gira is a genius. Gotta pick up at least one album)

Fugazi (I know – I’m way behind. I’ve only really listened to Repeater all the way through)

New Order (not as familiar as I should be. I have one of their much, much later albums)

Merzbow (I’ve only heard about one song they did with Discordance Axis. I’d be interested in hearing some of their stuff)

Swans (I already know and love ’em. But I need to summon up courage and listen to their back-catalog – like pre ’89. As well as just listen more to the rest of their stuff)

Sonic Youth (I really am not familiar with their stuff much)

Bikini Kill (never heard their stuff. I probably should)

The Replacements (never listened to them, feel like I should at least check them out)

(the direction this list is taking is really unexpected, but then I guess it’s a success)

Husker Du (I’ve listened to some of Bob Mould’s solo stuff, maybe I should add these guys in at this point – it seems apropos)

Desert Sessions (I wish I could put Kyuss on the list but I’ve listened to everything they’ve put out, really – except Desert Sessions)

Kayo Dot (I have all three Maudlin of the Well albums and love them, seen Kayo Dot play, loved them… now I just have to pick up their albums)

Discordance Axis (specifically The Inalienable Dreamless. I’ve listened to a lot of their other stuff. This is one of the only grindcore bands I listen to)

hm. I just actually contemplated adding Napalm Death to the list. I think I’m getting way off track here. Going to post this now. Look forward to future edits – and oh. Suggestions please (especially if you can recommend some good industrial. Skinny Puppy and Nine Inch Nails are about the extent of my familiarity).

P.S. I can’t believe how much rock music is on this list. To my readers that don’t know me (and maybe even those that do) this list could be really misleading about my current listening habits. I basically listen to rock music once every two weeks (that should explain why there’s hardly anything contemporary about my list). But for my appalling ignorance there would be way more house music represented here. I need some help here. Or maybe just need to get out more.

I do want to get the new Martyn album (Great Lengths), and anything that D-Bridge releases (either by himself or on his label – there, click on the link and listen to the songs in the beatport player. that’s more the kind of stuff I’ve been listening to. oh, and even more so stuff like this, this, or this. you really should click on one or two of those.) And yeah it goes without saying: when it comes to Chain Reaction, Basic Channel, Rhythm & Sound – more. . . I just can’t get enough of it. (Discovering these labels…maybe it’s something like…I don’t know, the appropriate religious metaphor fails me.)

OK, it’s late. Enough. I’m off to sleep. Love to you all.

obscure beauty from the black sun

August 9, 2009

That title probably made this post sound more interesting than it will actually be.

I’m listening to a song off an E.P. I’ve long wanted to listen to but never had until last week: Black Sun Empire‘s Smoke E.P. on DSCI4.

The track that inspired this blog post was the title track, Smoke. Those who aren’t drum & bass heads might listen and wonder what the big deal was about, whereas drum & bass heads might contemptuously respond simply by asserting that the track is “old” (yeah…so?).

This track is a classic example of the style of tech-step pioneered by DSCI4. It doesn’t necessarily transgress the sort of general boundaries of that style, but I think it does exemplify the style almost perfectly. I love how Black Sun Empire can sit their drums perfectly in the mix; they don’t rely on ultra-compressed, distorted kick and huge snare to carry the entire dynamics of the track, but rather the breaks feel restrained. Instead of feeling cliche, as in many drum and bass tracks, the breaks occupy just enough space to provide structure and flow to what’s happening – and what is happening always involves some melodic intelligence and transition.

After thinking about it, though, I think what most impresses me about Black Sun Empire – and this track in general – is the way they integrate all the elements together in the mixdown. That careful precision of the mixing – to me – is as much an element of style as the aesthetic defined by their choice of samples, especially that definitive sounding stab…and it is this sense of controlled precision (at odds with the sort of menacing ambience so often evoked by the synths / samples they select) that more than anything else at that time evokes techno. (The sharpness of their drum samples and the uber-compressed cymbals that punctuate them have become a much more familiar trope by now, but I think this is something that Black Sun Empire really innovated in many ways).

And plus, this track does something else I love. Listen for the change in the second break right before the bassline comes back in…

This probably sounds overly technical, nerdy, and slightly irrelevant – all of which it is. But the feeling I had that prompted me to write this blog isn’t.

While I have been guilty of it as well (and so I’ll avoid polemicizing overly much), I think there is a widespread conceit (no doubt a proper direction for deconstructive critique) in our culture as I understand it, at least, that holds art – and especially music – to be something that offers an almost mystically transcendent experience…and this is especially evident to me in the way musicians are idealized, as though gifted with some prophetic or visionary insight somehow inexplicably lacking in the rest of us (from John Lennon to Bob Marley to Jim Morrison to 2Pac – not to mention Michael Jackson, there seems to be a cult of personality associated with music almost unparalled by anything else I can think of).

But great music isn’t achieved only through some intangible wellspring of creativity (and I would dispute those who idealize either this supposed “quality” or the process by which it is thought to produce the tangible product we ultimately enjoy so greatly). There is also the (much-reviled) technical knowledge – and experimentation, and innovation and yes, discipline that plays a role. When electronic music is stigmatized or marginalized, I wonder about the extent to which an aesthetic is at play that fetishizes the inexplicability of human processes of expression – and ultimately, I would argue, the human “creator” as well – as privileged agent of creativity. When what is heard is not solely or primarily the result of vibrations produced in a tactile, physical manner by human hands, feet, or breath, but mediated instead by systems of circuitry, software (and furthermore is often comprised of auditory objects already recorded), and sequencing – it would seem that for some, the media produced can no longer unreservedly be regarded as “music.”

And yet, to denigrate electronic music (usually out of ignorance – and perhaps also out of fear?) is to kill the messenger.

Now how the hell did I get on this tangent?

There’s something about the mechanization of rhythm in this Black Sun Empire track on an obscure EP released by DSCI4 in 2002 that is just lovely – and, I think, a precursor of things to come. Now, if you haven’t already, go click the link and listen to it at least once through.

DSCI4

click for audio…

June 4, 2009

I probably should have posted this a long time ago. As many of my friends know, I DJ – mostly drum & bass – under the alias <megatech> (hence my blog URL…)

New mixes are long overdue, and at least one will be forthcoming this summer. I probably should actually set my sights high by promising an all house / techno mix, but that will have to wait at least until I put my money where my mouth is (and also remedy my tech / house illiteracy).

In any case, idle banter aside, here is an older mix from me. In reality it was just a bedroom practice session that went rather well. It showcases some of the d & b styles I favor when I’m behind the decks. Link is here (right-click / Mac: control + click to save audio file or open in your media player of choice).

more mixes coming soon, I promise…

Please feel free to check out my page on virb.com, where you can find a couple other mixes available for streaming / download. One has a few questionable moments as far as mixing goes, but I’ll let you discover that for yourself…

Cheers, and as always, feel free to leave comments.