Forget vinyl, engineer produces the world’s first laser-cut records made from WOOD

Friday, May 17th, 2013
Wooden Record

Designer experimented by lasering ridges into acrylic and paper
Step-by-step instructions explain how you can turn your own downloads into wooden records

By VICTORIA WOOLLASTON

You can now turn your favourite music downloads into playable records made from materials you have lying around the house.
Amanda Ghassaei, 24, from San Francisco has created the world’s first laser-cut wooden records using songs from Radiohead and Joy Division.
And the software engineer has made the instructions available to download, making it possible to create your own at home.

Ghassaei previously used 3D printers to print records from her MP3 downloads.
She wanted to find a way for people without 3D printers to make their own records, and has designed a way of making records out of paper, acrylic and wood.
Ghassaei created a digital waveform file from the MP3 and converted into a PDF.
Needles on a record player pick up vibrations based on the shape of the record’s surface.
The waveform was then cut into the wood using lasers to create the ‘shape’ of the song.

Full story at Daily Mail

Plastician interviews: Royal T

Friday, May 17th, 2013

Meet ‘algoraves:’ Raves with music generated by artist-controlled algorithmic software

Sunday, May 12th, 2013
Algoraves

You might never attend one, but keep this bit of information in your back pocket: A new trend today is the ‘algorave,’ in which people dance in a rave-like environment to music generated by algorithms.

According to a central algorave website – I abstain from dubbing it ‘official – the goal is to take a common piece of software that allows someone to create music based on an algorithm, and then compose the tunes live as people dance. The focus is not on the musician, incidentally, but instead on how people react to what they create.

Alex McLean, a proponent of the algorave movement, provided comment to BoingBoing concerning the idea, stating that:

“Algoraves are parties where people come together to dance to algorithms. It generally involves some live coding but any producers making music. [...] Generally some aspect of the algorithmic processes are visible, but the focus is actually on the audience, and having serious fun.”

Full story at The Next Web

JUNGLE IS MASSIVE: AGAIN

Wednesday, May 8th, 2013
Jungle

The original sound of drum ’n’ bass is back with a vengeance. As more DJs embrace the Amen choppage of jungle and more producers unleash their own take on it, we head to the UK club that plays nothing else.

Words: Alex Volume
Photos: Tamsin Mae

Mixmag arrives at an unassuming pub on the outskirts of Bristol: yellow walls, heavy wooden furniture, a questionable speaker stack in the corner blaring out top-volume dub records, and ageing men taking turns on the mic. A featherweight boxing match on a projector screen provides the backdrop. Are we in the right place? Then we spot some double doors at the back of the club’s car park that are struggling to contain the drums within. Our doubts end. Inside, Bailey is mid-set, the packed-out main room air-drumming along to his lecture in Amen breaks. He drops Equinox’s ‘Ital Lion Tuff Head’, released on his own Intabeats imprint in 2005, and the place goes ballistic. We’re here for the fourth birthday (and label launch) of Jungle Syndicate.

Full story at Mixmag

Contact @ Electric Brixton – Youngsta & SP:MC Intro

Saturday, May 4th, 2013

London club Cable closed with immediate effect

Wednesday, May 1st, 2013
uk-cable-london

Cable London’s web site is now displaying the following message:

We Have Closed with Immediate Effect:
Official Statement

Dear World,

It is with a huge amount of sadness that we announce Cable has closed with immediate effect.

We have been forced to close following two years of ongoing legal battles with Network Rail, who took possession of the venue this morning with an entry order, putting us out of business and leaving our 70 staff without jobs. This is due to them allegedly requiring the space back for the redevelopment of London Bridge station. It is an utterly devastating blow to what is a much loved, hugely successful, well respected music venue and media business.

This is not only a huge loss to the loyal fans and staff of Cable, but to London’s clubbing community as a whole. With enormous pride, we delivered the very best talent in an environment that upheld the history of the early SE1 rave scene and supported as many musical styles as possible.

We are obviously devastated and still in shock by the news and know there will be questions. As you can appreciate, there is much work to be done and many arrangements to be made behind the scenes. A full press release will follow.

If you are presently a ticket holder for an event that was scheduled to take place at Cable, please do not worry – further information will follow in due course.

Our sincerest thanks,

The Cable Team x

Full story and photos at Cable London

Uncle Dugs interviews Goldie

Thursday, April 18th, 2013
Uncle Dugs Interviews Goldie

Uncle Dugs’ Rinse FM show is perhaps the last radio slot dedicated to old skool drum and bass currently riding the airwaves, his shows have become known for the relaxed but in-depth interviews from some of the genres biggest names.
To date he has spoken at length to the likes of Nookie, Slipmatt, A Guy Called Gerald, and Kool FM founder Eastman.

This interview is probably the most fascinating, and it would be, as the interviewee is arguably jungle’s most interesting and enduring character, Clifford Joseph Price.

This three hour interview takes you from practically the birth of Goldie, to present day, and almost everything in between.

Full story and listen at Drumtrip

BRISTOL MAN BANNED FROM THE ROAD AFTER “DRIVING UNDER THE INFLUENCE OF DRUM’N’BASS”

Thursday, April 4th, 2013
Banned for driving under the influence of drumnbass.

I suppose if it was Dubstep, he’d have been driving sloooooowwwwwwllllyyyy and sticking to tunnels.

And today’s most absurd story is in.

A white van man in Bristol has been banned from the road, after driving not under the influence of drink or drugs, but “the intoxicating effects of drum and bass music.”

Aaron Cogley [not pictured above; that's d'n'b legend Goldie] was followed by police after driving suspiciously through the streets near the city’s Royal Infirmary, rolling through two sets of red traffic lights, cutting up another motorist and “round[ing] a corner so sharply the whole van rocked on its chassis.” Formerly of Portishead (the town, not the Bristolian band), Cogely is currently homeless according to reports.

Full story on FACT

RBQMA: Skream

Sunday, March 24th, 2013
skream-rbqma-title

Skream and dubstep: the two words are practically inextricable. Or at least they were. As a teenager, the Croydon-raised Oliver Jones was instrumental in taking a sparse, forbidding musical form and turning it into a world-beating behemoth. Tracks like “Midnight Request Line” showed that dubstep could do hummable melodies just as easily as urban paranoia. Jones’ career has since gone stratospheric. In 2010 and 2011 he had chart success as part of Magnetic Man, a trio with fellow Croydonites Benga and Artwork. Last year he produced tracks for Kelis and Miles Kane and landed a weekly Radio 1 slot.

As a figurehead of contemporary British dance music, then, it’s perhaps appropriate that Jones is about to leave dubstep behind. There’s no doubting that UK electronic music is experiencing a boom-time, but the poster boys of the new generation – Disclosure et al. – are increasingly of a house persuasion. It’s a development Jones has been following with keen interest, showcasing an increasing amount of house and techno in his sets over the past year.

With his contribution to Pete Tong’s mix series for Defected out this month, it seems the transformation is complete. The mix is a bold, colourful trip through sunny disco and more aggressive UK sounds, spanning from Dusky and Midland to Justin Martin and Duke Dumont. RBMA caught up with Skream shortly after a triumphant “classics set” at dubstep institution DMZ to find out why such sets will soon be a rarity and discuss the inspiration behind his new mix.

Full story at Red Bull Music Academy

Local producer Moldy digs for the roots of a misunderstood sound

Friday, March 15th, 2013
Moldy - Photo: Matthew J. Lee/Globe Staff

There’s a vocal sample laid over the recent track “Too Slow” by Boston dubstep producer Moldy that essentially lays out his overarching musical thesis: “People like you, I think, are starting to realize there’s too much speed in the system,” a voice intones over the clipping percussion, languorous rhythm, and minimal sound architecture. “There’s too much busyness and it’s time to find, or get back to, that lost art of slower rhythms,” it says, just before the deep bass pulse comes in. It’s a much different style of dubstep than how the genre has come to be understood, and Moldy is trying to dial things back…

Full story at The Boston Globe

WHAT’S GOING TO KILL THE HOUSE REVIVAL?

Thursday, March 14th, 2013
Taken from the Twitter account @DisclosureFans

Vice or as I like to call it “The Onion of Hipster news outlets” chimes in with some witty observations about dance music culture in England today.

At some point in 2007, a bunch of people realised that they hadn’t been laid for the entirety of the four years they’d been listening to dubstep, and fucked off to make something that sounded like the exact opposite of it.

It began life without a name, but pretty soon music hacks realised the jig was up for dubstep because no one wanted to feel like they were trapped in a submarine in the Thames having a panic attack any more, and so “post-dubstep” was born. A few years later, and here we are: with the first British club music built on a 4×4 kick to soundtrack a T4 ident since “Where’s Your Head At”.

Modern-day house is undoubtedly the movement of the moment, currently occupying a territory somewhere between the internet underground and the stereo of your mum’s favourite shop on the high street. Some of its facets have broken through into the mainstream, but the heart of it definitely remains in the “sub” part of culture. “Latch” may have made the top 20, Bashmore might be blowing up on your workplace radio, but if they did another Live Aid tomorrow, nobody from the scene’s ready to be up there singing “Let it Be” with Paul McCartney and Emile Sande quite yet.

Full story on Vice

“We just called it techno”: Mike Paradinas and Lara Rix-Martin on Heterotic, the early days of µ-Ziq and the ascent of Planet Mu

Thursday, March 7th, 2013
Mike Paradinas and Lara Rix-Martin

Mike Paradinas isn’t quite a household name. But as far as his impact on the electronic music world goes he is the equal of almost any other DJ or producer you’d care to mention.

As a teenager in the early 90s, operating under the µ-Ziq alias, Paradinas joined the likes of Autechre and the Aphex Twin in pioneering the leftfield takes on techno, UK hardcore and jungle that would come to be called IDM. Across two LPs for the Rephlex label, Paradinas’ productions put a distinctive spin on the burgeoning form, their busy arrangements and bold, often warm melodics establishing a yin to the icy yang of Autechre’s Amber.

Later in the decade, after a brief dalliance with Virgin records (challenging electronic music was hot dollar back then), Paradinas launched his own imprint, Planet Mu. Initially serving as an outlet for the IDM scene and its offspring, the label has since undergone a series of radical overhauls, consistently wrong-footing its detractors and cementing its position at the forefront of all things electronic. In the mid-2000s the label served as an essential platform for dubstep’s launch into the mainstream; in recent years it has become renowned for championing Chicago footwork, helping to plant a previously obscure music firmly in the global musical consciousness.

Full story at FACT