Search

This article discusses the emergence of a new hard dance sound in electronic music, often referred to as "modern trance" or "Gen Z" trance. It draws inspiration from older rave sounds and incorporates elements from various genres. The article provides step-by-step tutorials on creating the modern trance sound, focusing on drums, bass, lead synth, and incorporating vocal chops. It also recommends listening to tracks by producers like Marlon Hoffstadt and Pegassi to further explore this genre. [Extracted from the article]

This article features an interview with Felix Nyajo, also known as salute, a DJ and producer signed to Ninja Tune. Nyajo discusses their influences, creative process, and debut album TRUE MAGIC. They talk about their transition from drum & bass to house music and their love for sampling. Nyajo also shares insights into the making of TRUE MAGIC, including their collaborative approach and the visual aesthetic of the album. They mention their affinity for French touch house and their preference for sampling music from the '80s and '90s. The article also includes an interview with Salute, who discusses his use of music production software, collaboration with other artists, capturing good vocal performances, and the process of finishing an album. Salute emphasizes the importance of creating a comfortable environment for vocalists and the value of feedback during the creative process. He also discusses the influence of pop music on his work and the balance between technical production knowledge and songwriting skills. Salute advocates for inclusivity in the music industry and acknowledges the barriers that some individuals face in pursuing music production. [Extracted from the article]

This article features an interview with musician Gerald Simpson, also known as A Guy Called Gerald, discussing his history with iconic music technology such as the Roland TB-303, SH-101, TR-808, TR-909, and TR-707. Simpson played a significant role in the development of British acid house and jungle music in the late '80s and '90s. He shares his experiences with using these machines and how they influenced his career. Simpson also talks about his early experiences with electronic music and his experimentation with different equipment. The article emphasizes the importance of protecting one's music and using an ISRC code to maintain ownership and control over one's work. [Extracted from the article]

The article discusses the debut LP Acid Star by the musical duo Peel, consisting of Sean Cimino and Isom Innis from the band Foster the People. The duo explores a diverse range of sonic influences in their album, combining melody with beats and synth ornamentation. The album was created through a collaborative process, with the duo exchanging ideas and experimenting with different sounds. They used a combination of hardware and software instruments, including synths like the Roland JUNO-106 and Sequential Prophet-6, as well as plugins from Arturia. The album draws inspiration from various musical eras, including post-punk and 1990s rave culture. The rhythmic tracks on the album were created through a combination of drum machines and live drums, with meticulous editing to achieve the desired sound. The duo also utilized spatial effects and reverbs to create unique textures in their music. The article concludes by mentioning that Peel plans to continue making music in the future. [Extracted from the article]

Ken Ishii, a legendary ambient techno producer, released his second full-length album, "Reference to Difference," in 1994. The album aimed to showcase a more diverse sound by combining melodic, ambient, and fierce elements with techno influences. Ishii drew inspiration from various sources, including Detroit techno, Warp Records, and Japanese techno pop. The album, which pushed the boundaries of Japanese techno, has recently been remastered and reissued for its 30th anniversary. Ishii discusses the creative process behind some of the album's tracks and the limited gear he used to produce them. [Extracted from the article]

GiGi FM, a multi-disciplinary DJ/producer, discusses her journey from ballet to music and her use of gesture motion controllers to create inter-dimensional club music. After a dance injury ended her career, GiGi FM discovered DJing and began using Ableton to produce music. She has since released several EPs, including Kiwi Synthesis Diary 21k and Magnetite, which utilized gesture control technology. GiGi FM's latest EP, Movimiento, draws inspiration from her musical origins and incorporates movement and percussion. She also discusses her synesthetic experience of assigning colors to sounds and her creative process in Ableton. GiGi FM is currently working on a project called GEM (Gestural Electronic Music) and is focused on her label Sea~rène. [Extracted from the article]

This article explores the thriving experimental music scenes in the Middle East and North Africa (MENA) region, despite the region's instability. It specifically focuses on the music scenes in Beirut, Lebanon, and Cairo, Egypt, as well as the connections between different cities in the MENA region. The article emphasizes the diversity and fusion of cultures and identities in these music scenes, with artists pushing boundaries and defying categorization. It also acknowledges the challenges faced by artists due to regional conflicts and political situations. The article further discusses the underground music scenes in Amman, Jordan, and Tehran, Iran, where artists and promoters are working to establish experimental music scenes in opposition to mainstream Western genres. In Amman, Drowned By Locals, a contrarian label, rejects statehood and prioritizes meaningful connections with like-minded artists. In Tehran, the scene has faced difficulties due to the economic and political situation, leading many artists to leave the country. The article highlights the significance of noise and experimental music in expressing the chaos and societal upheaval in the region. [Extracted from the article]

Luke Slater, a UK techno legend, is known for his work under various aliases, including Planetary Assault Systems. However, his new album as L.B. Dub Corp incorporates his own drumming for the first time. The album, titled "Saturn to Home," features vocal contributions from Robert Owens, Miss Kittin, and Paul St. Hilaire. Slater discusses his approach to collaboration, his use of gear in different projects, and his philosophy on making electronic music work live. He emphasizes the importance of limitation and experimentation in creating unique sounds. [Extracted from the article]

DJ-producer LP Giobbi, known for her blend of remixed Grateful Dead songs and house music, reflects on her career and the toll it has taken on her personal life. Despite her success and accomplishments, LP felt exhausted and disconnected from her loved ones. Through therapy and self-reflection, she has learned to make adjustments and find balance in her life. LP's new album, titled Dotr, is a tribute to her parents and significant women in her life who passed away during its creation. She also discusses her work in empowering women in the music industry through her organization Femme House. LP's Way Back Home Tour will take her across the United States, including her native Eugene, Oregon. She credits her upbringing in Deadhead culture for shaping her career and connecting her to a sense of community. LP's success has allowed her to use her platform to advocate for diversity and inclusion in the industry. She plans to start a family and looks forward to slowing down and being present in her personal life. [Extracted from the article]

The article presents an interview with American musician, disc jockey (DJ) and music producer Nick Miller, professionally known as Illenium. Among the issues he discussed include his accomplishments, including his debut Trilogy show at Las Vegas, Nevada's Allegiant Stadium on July 3, 2021which helped break the pandemic's pause on live music, his views on music writing, and how he was able to find out a healthy and productive way to satisfy his own addictive impulses.

Sophie, a British electronic music producer and DJ, released her final album posthumously after her death in 2021. The album, which was completed by her family, showcases elegant integrations of dance music from the past 40 years. While some critics feel that the album is a safe statement compared to Sophie's previous work, it is still described as welcoming and offers a blend of trance, pop, and techno. Overall, the album is seen as a testament to Sophie's talent and ability to push the boundaries of pop music. [Extracted from the article]

An interview with Andre Benz and Brandon De Oliveira, co-founders of Broke Records, is presented. They discuss the benefit of Benz's YouTube marketing background and experience with algorithms to the record label, the success of their TikTok creator campaigns, and their outlook for their record label.

As stated in a previous HO article ("Tango, An Inclusive Art"), "tango emerged naturally and spontaneously as a way of being and feeling that responded to the need for freedom and creative expression." Musicians and singers representative of La Guardia Vieja (the most authentic period of tango) include one of the most famous tango singers of all time, Carlos Gardel. However, as it became accepted in Europe, tango music, poetry, and dance filtered through all social classes and achieved the status of authentic art representing people's needs. [Extracted from the article]

An interview with producer and songwriter Gryffin, highlights his journey from being classically trained on piano and guitar to embracing electronic music production with software like Ableton Live. Topics include her ability to combine organic and electronic elements in his music, creating uplifting and emotional dance tracks; and the importance of live shows, finding original sound, and prioritizing the quality of the music.

An interview with Saudi Arabian disc jockey Nouf Sufyani, also known as Cosmicat, is presented. Cosmicat names several artists who influenced or made an impact on her early years in music. She talks about access to music, the music scene and the musical history of Saudi Arabia. She discusses her decision to change her career to music, the obstacles she encountered in a male-dominated industry, her approach to generating interest via the Internet and her current audio set-up in her home studio.

This article from Future Music magazine discusses DJ Polo's latest EP, released on the Livity Sound label. The EP features four tracks that blend various genres, including UK funky, garage, dubstep, footwork, and African electronic music. The title track combines fast-paced drum patterns with trance-like rhythms and tonal percussion. The EP is particularly noteworthy for its slower bpm tracks, such as the closing track "Burndown," which incorporates afrobeat influences and combines percussive lines with bass and dub-like synth effects. [Extracted from the article]

The article presents an interview with Derwin Dicker, an electronic record producer, better known as Gold Panda, who discusses his fourth album "The Work" which ventures into emotional territory. He shares his views on exploring the difficult journey towards mental stability, recreating the tracks in Ableton Live, and using hardware synths.

The article discusses the release of Ableton Live version 12, which is a popular digital audio workstation (DAW) used in electronic music production. The update includes new instruments, MIDI features, and improvements to the user interface. The article also mentions the availability of a free synthesizer, ImpOSCar 2, and a discounted upgrade for Tone2's Icarus v1.6. Additionally, the article introduces a new series called "Dance Music Masterclass" that provides tutorials on creating modern dance music. The article concludes by mentioning the inclusion of royalty-free sample packs in the issue. [Extracted from the article]

The article discusses some of the sampling techniques popular with pioneering drum & bass producers. It discusses how hardware effects units didn't feature the shimmering high sample rates and resolutions and how these limitations produced some classic sounds. It would be relatively straightforward to summaries the 1970s as the golden age of analog synthesis, with increasingly capable technologies offering richer, thicker, more expansive sounds.

An interview with Creative Artists Agency (CAA) senior agent and head of electronic/international, Maria May, is presented. She reminisces on the trajectory of her career in the music industry, particularly her work at The Levellers. She cites the need for more female workers in the industry. She talks about the major challenges facing the electronic music segment.

The article focuses on the impact of Drumsheds, the largest indoor electronic music venue in the UK, detailing its successful opening season, challenges in production and sound, and opportunities for artists to create unique experiences, with plans for international expansion mentioned. Topics include the venue's unique features, the electronic music sector's growth, and the company's commitment to creating historic moments in the UK music scene through diverse programming.

The CULTURE PAGES CRITICS MUSIC IN OUR CONSUMERIST DYSTOPIA, where the spoils belong to the boldest playersin the data business and corporations adopt the language of community activism,mass culture can feel inescapable. But where SZA uses herlatest album to showcase her ease inadapting to genres, Kelela treats musicaltraditions like flotsam and jetsam, themess surrounding a shipwreck. [Extracted from the article]

The article reports that Released through the house music institution that is Innervisions, the minimally monikered + forgoes the crisp and sleek stylings that typify the music of label heads Âme and Dixon. Instead, the new album explores a varied palette that stretches from exultant electro to moody deep house, with unexpected detours into dub techno and experimental hip-hop, making for some of the audio project's most arresting moments.

The article evaluates the architectural design of The Concourse Project located at Highway 183 in Southeast Austin, Texas.

An interview with music producer and disc jockey (DJ) Cinthie is presented. She reminisces on how she got involved with music production and electronic music. She explains her overall philosophy or strategy in producing music at her studio with vintage musical instruments. He talks about how she discovered computer music-making and its benefits.