In honor of its looming 100th release, Finders Keepers has announced a new label compilation series called Probes. According to a press release it aims to “give some of their faithful friends, cohorts and collaborators an access all areas pass to the wider Finders Keepers family’s expansive sonic vault in this regular custom compiled, thematic, downloadable series aiming to give listeners, old and new, a deeper probe into the FK psyche.”
Up first: longtime friend/collaborator Sean Canty of Demdike Stare, whose freaky-deaky entry is available in full below….
This week’s top mixes include Actress and LCO live, Raji Bags’ Blade Runner Soundtrack Reimagined and a two-hour Arthur Russell tribute.
Actress and London Contemporary Orchestra Live. A live collaboration between artful techno producer Darren Cunningham, aka Actress, and the London Contemporary Orchestra, at London’s Barbican commissioned and curated by Boiler Room. The performance debuts brand new material released recently as an EP. Watch in full above. Raji Bags’ Blade Runner Soundtrack Reimagined. Raj Chaudhuri, aka Raji Rags, is a Boiler Room musical cornerstone and quarter of hip-hop collective Livin’ Proof. He reimagines the soundtrack of futurist dream Blade Runner‘s iconic soundtrack, featuring Aphex Twin and Autechre selections. Stream and track listing here.
Nick The Record’s Arthur Russell Tribute. A two-hour long tribute to disco avant-gardist and cellist Arthur Russell from respected Brighton record dealer and DJ Nick the Record. It’s full of unreleased versions and previously unknown material from the artist David Mancuso once described as "Dylan and Coltrane rolled into one". Stream above, an interview with the artist here.
Locked Groove’s Locked Grooves. Via Ninja Tune, this Solid Steel mix features house guru Locked Groove, who recently released on Kompakt’s Speicher series and remixed Sebastian Voigt on Outcast Oddity. "I wanted to play something else than just the stuff I’d play in a club environment," he explains. "Every track feels like something from outer space to me." Stream and download above, track listing here. Source: http://ift.tt/1UBq9jI
Between 1961 and ’62, tenor saxophonist Gene Ammons was struggling with a menacing heroin habit. His sizable number of recording sessions during these years was partly due to his need for cash. Ammons’s first arrest, conviction and prison term lasted from 1958 to 1960. The second bust came in late 1962. According to Bob Porter, writing in Soul Jazz: Jazz in the Black Community 1945-1975, "The arrest warrant charge was possession with intent to sell. The case against Ammons was built with all the subtlety of an inquisition. In today’s judicial climate, the case would clearly be one of entrapment, but that didn’t help Ammons in the Illinois of 1962. He spent more than seven years behind bars."
Before Ammons’s career came to a screeching halt in ’62, he furtively recorded three albums for Chicago’s Argo Records while under an exclusive contract for Prestige. Ammons’s motive again was to raise cash, this time while touring in the Midwest. When Prestige found out about the Argo dates after Ammons’s incarceration at Joliet Penitentiary in Illinois in ’62, Prestige’s owner, Bob Weinstock, sued Argo’s parent company, Chess Records, and was awarded Ammons’s Argo recordings and a sizable financial settlement.
Among Argo’s Ammons tapes were tracks that would find their way onto Prestige’s Blue Groove, which wasn’t issued on vinyl until 1982, when it was produced by Bob Porter. The original session was recorded in April 1962 and featured Ammons (ts), Clarence "Sleepy Anderson (org, p) and an unknown guitarist, bassist and drummer. The song titles were Blue Groove, You Better Go Now, It Never Goes Away, Blinky, Yea!, Someone to Watch Over Me, Sleep and The Masquerade Is Over.
Ammons was released from prison in 1969 and quickly resumed recording for Prestige. To Weinstock’s credit, he had kept Ammons’s name alive among jazz fans by slowly releasing albums by Ammons that had been recorded in 1961 and ’62. But for some reason, Blue Groove wasn’t among them, perhaps because the date’s personnel wasn’t fully known.
Gene Ammons died in 1974 at age 49.
JazzWax tracks: You’ll find Gene Ammons’s Blue Groove at Spotify and on CD, released in 2016, here.
JazzWax clip:Here’sYou Better Go Now from Blue Groove…
When Lauran Hibberd introduces her song Eliza live she often states that it’s about a girl she used to know once and she wasn’t very nice. This sounds pretty harsh until Lauran sings: “Eliza built a home in the back of my mind,” and you begin to wonder who Eliza really is. Maybe she’s is a lot closer to Lauran than we all first thought? If she is, then it looks like Lauran has dislodged the inner demon now though: “The girl you lead astray is going to be OK.” Lauran’s music seems to be gradually evolving from a softer folky feel to something with a more idiosyncratic indie feel. Eliza is a good example of this, rushing headlong into three minutes of an exuberant and raw stomp, with the chorus spelled out letter by letter E-L-I-Z-A. This self-assured noisier sound suits her well. Following a main stage set at this year’s Bestival and a date supporting Sarah Close, you can next find Lauran treading the boards when she supports another Breaking More Waves supported act, Jerry Williams, at the Black Sheep Bar in Ryde, Isle of Wight on 22nd October, with more dates to be announced soon. Lauran Hibberd – Eliza
In The Wall Street Journalthis week, I interviewed actress Mercedes Ruehl for my "House Call" column on growing up around the country with her F.B.I. agent dad and her mom (go here). Mercedes caught the acting bug after her mother and aunt gave her a chest of old scarves, shoes and hats. Perfect for role-playing when friends came over for play-dates. Mercedes is appearing in the off-Broadway production of Torch Song, opening on Oct. 19. Here’s Mercedes as Connie in Married to the Mob (above). She told me the carton of eggs she mangled was cut halfway though, allowing her to tear it more easily…
Also in the WSJ, I interviewed poet Robert Pinsky for my "Playlist" column on King Pleasure’s Jumpin’ With Symphony Sid. Robert loved listening to the theme of Symphony Sid Torin’s New York radio show, since it created a mystique around the city’s nocturnal jazz life. Robert started out playing the saxophone but eventually realized that poetry would be a better fit. His latest book is At the Foundling Hospital (Farrar, Straus and Giroux). Here’s the song…
Victor Herbert. In the wake of my post on Victor Herbert’s Indian Summer, Hans Doerrscheidt sent along a note recommending Herbert’s works on Serenade—Works for Cello & Strings (here) on CD and at Spotify.
Bill Holman. Kathryn King, Bill Holman’s step-daughter, has launched a crowdfunding campaign to raise funds to complete Charting Jazz, a documentary on the famed West Coast arranger. Watch the clip and donate what you can. Without this film, Bill risks fading into the past undocumented. If you dig those Bill Holman records, support Kathryn’s film. Go here to watch the video and donate. Here’s Bill’s Stompin’ at the Savoy arrangement for Stan Kenton in 1955….
Dizzy Gillespie radio. Next Friday, October 20, WKCR-FM in New York will start its 29-hour Dizzy Gillespie at 5 a.m. (EDT). The birthday broadcast will run through 10 a.m. on Saturday October 21. To listen from anywhere in the world on your phone or computer, go here.
What the heck.Here’s Sonny Stitt with the Giants of Jazz in 1971 playing Everything Happens to Me backed by Thelonoius Monk (p), Al McGibbon (b) and Art Blakey (d)…
Oddball album cover of the week.
A bit of a stretch, but AMF managed to make bowling the pastime of playboys in 1967. Just hard to imagine whether they wanted you to play the album at the alley or at home after.
When it came time to cut his third album, LUCIANBLOMKAMP quickly realized it’d be better off broken into three distinct parts. A trilogy, if you will. Sick of What I Don’t Understand’s first chapter hits shops through Different Recordings today, marking yet another step in the evolution of a singer/composer/producer who went from being a classically trained violinist to a genre-less chameleon soon after moving to Melbourne at the young age of 13.
“Aside from classical,” he explains, “I was just a complete blank canvas of a person as far as musical and artistic tastes go. I knew the hits, I guess, but I just wasn’t drawn to it. Moving to Australia opened my eyes in a million different ways. My girlfriend now was the first person I ever met in Australia, and the music she listened to I had no idea existed.”
Here are the stores behind his own songs….
“SICK OF WHAT I DON’T UNDERSTAND”
I approached “Sick of What I Don’t Understand” as a summary of the record’s three parts. While its sound and meaning gradually morphs, I thought it’d be grounding to have the title track foreshadow the story that’s going to take place.
“Crawling” is the starting point of the album’s narrative. It’s about becoming a person you never intended to become. Stuck in a dark moment in time and only anticipating for things to get worse.
“NOTHING” (FEAT. RROMARIN)
Song’s like “Nothing” are a rare occurrence for me, as it’s completely a product of collaboration. The track’s meaning and tone morphed over the writing process with Rromarin and I think this plays as one of the track’s biggest strengths. I feel it’s also fitting that it’s the first track to be released in some time as there’s a really balanced dynamic between the sounds of my previous albums and what’s to come.
“STILL NO” (FEAT. TRIM)
Trim is the type of artist I strive to be. Not because of his influence over any particular style, but exactly because of that. He has a gift for disobeying the norms and never following up on expectations. He’s a complete wildcard; no matter the instrumental, no matter the genre, no matter what era during his long-lasting career, if Trim’s on the track, it’s a Trim track. So as you can tell, I feel it’s an honour to have him be a part of my new release, and I hope to do his name justice.
If ’90s era Beck time travelled to the present day and made a new song, this Parquet Courts song would definitely be that song.
This version of “Captive Of The Sun” is a remix of the original, which was on 2016’s Human Performance. The original didn’t feature Bun B. I wonder what kind of bet he lost to have to contribute to this song but it adds a nice dimension, like chipotle does to mayo.
Anyways, at first, I was like ugh, but after a few listens, I have decided I liked it.
Getting started. Ableton’s new ‘In the Process’ series kicks off with a discussion on starting tracks. Check it out above. Meanwhile, if you work in education and want an Ableton Push 1 for your classroom, find out how here. On a mission. The Guardian kicks off a new series that aims to survey the musical underground. The first instalment finds Alexis Petridis trying to define what exactly the term means. Read it here. East meets west. The Independent investigates a revivalist northern soul scene in Japan that mirrors the dancing, records and atmospheres of the UK’s famous 70s movement. Read it here. Job o’ the times. Prince’s famous Paisley Park estate production complex is looking for a new Archives Catalogue Associate, and it could be you. Read more here. Bye bye. Vlogging pioneer The Needle Drop’s lesser known thatistheplan channel had become an alt-right outlet that railed against everything from social justice to feminism. When Pitchfork got in touch for comment, he closed it down. Read the full story here. Source: http://ift.tt/1UBq9jI
Could HALion 6 be the samplist’s software sampler? Dave Clews finds out.
Some might say that the traditional art of sampling has become somewhat endangered in recent years. The ease with which audio can be recorded directly into your DAW and moved around has led to the adoption of a new set of workflows that are something of a departure from the creative process that began and developed with the use of hardware samplers such as the Akai S3000 and Emulator III. Practices such as manually assigning samples to velocity layers and keygroups, multisampling unusual instruments and slicing and resequencing beats into new creations all involved processes that were made necessary by the technology of the time and required plenty of practice to master. Now that there’s an abundance of sample library providers that can do all the hard work for you and present the results in an easily downloadable package, sampling your own sounds is no longer something that many of us feel is necessary. Even the workflow of DAWs like Ableton Live redefines how we think of sampling.
[quote text="The focus seems to have largely slipped away from the ability to create and manipulate sounds that are uniquely yours."]
While sample-based software like Native Instruments’ Kontakt and UVI’s Falcon provides plenty of scope for the playback of third-party sample libraries, the focus seems to have largely slipped away from the ability to create and manipulate sounds that are uniquely yours. This functionality gap is one of the things that Steinberg are attempting to address with HALion 6.
HALion began life in 2001 as the software sampler cousin to the company’s Cubase DAW. Over the intervening years, it’s evolved into a mammoth sound design, synthesis and sampling tool that can more than hold its own in the company of rivals such as Kontakt and Logic Pro’s built-in EXS24 sampler. Available as a standalone and plugin instrument on both Mac and PC platforms, the latest incarnation, HALion 6, was first announced at NAMM 2017.
When asking the question “what does HALion 6 do?”, it’d probably be more pertinent to ask what doesn’t it do. This thing is an absolute beast, covering just about every audio-related task you can think of within the fields of sampling, synthesis and sound design and then some. It houses a generous selection of over 20 prefabricated instruments, such as the Skylab granular synth, Model C organ module and two modelled grand pianos, Raven and Eagle.
Unlike its rivals, HALion 6 features 5 different types of zone, not simply for playing back, but for generating sound – Synth, Sample, Granular, Organ and the all-new Wavetable – unique for a software sampler. Any number of these zones can be stacked up into a single program, and you can load multiple programs simultaneously up to a maximum of 64, giving you the opportunity to create truly massive soundscapes. The Wavetable zone, new to HALion 6, offers complex sound design possibilities using literally any audio as a sound source, and as an instrument is probably worth the asking price on its own.
Elsewhere, a spiffy automated sample record mode allows the capture of consecutive single-note samples to be automatically trimmed and assigned to keygroups on the fly – time to dust off those ancient, exotic instruments you have knocking around. You can even build your own instruments using the macro page designer – a template-based tool that lets you design complete user interfaces for your custom programs by dragging and dropping prefabricated control elements onto custom backgrounds – all without scripting. Myriad onboard digital effects and a comprehensive built-in surround mixer complete the package.
When you’re in the market for a sonic Swiss Army knife like this one, you have to ask yourself why you’d choose HALion over, say, Kontakt. The answer is mainly in the scope of what you can do with it – on the face of it, HALion is a powerful, multiple-engined synth capable of generating audio from scratch and imbued with some serious sampling capabilities, while Kontakt is more of of a sampler with some added synthesis elements, such as its array of built-in LFOs, filters and effects that can be applied to imported samples.
While it’s true that Kontakt has a much larger amount of dedicated third-party content available, HALion delivers a wide-ranging set of tools to build your own bespoke library, as well as the ability to import Kontakt libraries up to version 4. Notwithstanding the whopping 29 GB of downloadable content, all catalogued into over 3,400 presets and searchable via the Media Bay, HALion also has a majorly strong focus on custom sound design. The overall quality of that bundled sound library is very high indeed, although on the negative side, the Hot Brass and Studio Strings instruments fall a little short of expectations for elements ostensibly targeted at movie scoring – the strings in particular suffer from a lack of keyswitched articulations and legatos in the solo string category.
Suffice it to say, there’s a heck of a lot going on here, and the potential is truly enormous. For those not used to Cubase’s visual style, HALion’s interface can be a little intimidating initially, with its multiple panes and tabs and an awful lot of little icons to decipher. In this regard, the learning curve can be a bit on the steep side, but when you figure out that the interface is composed of a series of panes that are completely customisable and sizeable, with direct control over the size, shape and position of the elements you want to see – you can undock areas and drag them onto an second monitor, for instance – it becomes a lot easier to get to grips with things.
If you want access to a huge library of cutting-edge synth sounds married to probably the most comprehensive set of sound design tools on the planet, together with the power to build your own library without sounding like everybody else, HALion 6 has the capacity to reap great rewards from the investment of a little time and effort spent scrambling up the foothills of that learning curve. Add the ability to import Kontakt libraries and the sheer versatility of that multi-faceted synthesis engine and you’re onto a winning combination that should probably be sampled at your earliest opportunity.
[rating buy="Steinberg" price="£250" link="http://ift.tt/2zlshIb; value="3.5" versatility="4" sound="4.5" ease_of_use="3" overall="4" text="a winning combination that should probably be sampled at your earliest opportunity"] Source: http://ift.tt/1UBq9jI
Stranger Things Neon Tron Gloss Synthwave The 80’s Computer-pop Retro-electro Bad hair Now ladies and gentlemen, if you like that list, add Ace Marino and his debut EP Cocaine Flamingo to it. From it, streaming below, is Communication. Together, we’re living in electric dreams. Ace Marino – Communication