As we reported before, Wavves had to push up the release date of their new album, King of the Beach.
To give everyone a nice full taste of the record, these SoCal garage rockers are streaming their whole new album on this website.
They have also announced a boat load of tour dates so that everyone has a chance to see these cool, beach loving guys.
King of the Beach drops digitally via iTunes tomorrow and other digital sources July 13. The physical album hits stores August 3.
Tour Dates:
August
06 Chicago, IL - Empty Bottle $
07 Chicago, IL - Lollapalooza
12 San Diego, CA - Museum of Contemporary Art
13 Pomona, CA - The Glass House
14 Portland, OR - Berbati's Pan &
16 Santa Barbara, CA - Soho
17 Santa Cruz, CA - Crepe Place
18 San Francisco, CA - Rickshaw Stop
25 Seattle, WA - Neumos
26 Vancouver, British Columbia - Biltmore
27 Victoria, British Columbia - Sugar
30 Sacramento, CA - Sol Collective
31 Visalia, CA - Howie and Sons Pizza
$ with Harlem, Fergus and Geronimo
& with the Cool Kids
mnml ssgs fries-up a special sausage in the form of Bristol-based producer October, who moves through 90 minutes of house-influenced techno and vice versa.
It seems like July 2010 is a good month for music, lots happening. Another announcement I need to inform you about is the release of The BAD BOY BASS EP.
This EP is filled to the brim with the some of the hottest remixes of GAUDI’s ‘BAD BOY BASS’ from the album “No Prisoners”.
International names such as Liquid Stranger | Bandish Project | AlexisK | Bert On Beats | Sound Avtar & DJ Zdeuf who have all brought
something unique to the table with their interpretation of the original.
Out on the SIX DEGREES Records with DJ UMB (Generation Bass) as the Executive Producer, the EP gets its official release next Tuesday – 06/07/2010.
Gaudi – Bad Boy Bass (Piyush Bhatnagar Remix)
GAUDI- BAD BOY BASS -BANDISH PROJEKT MIX
Gaudi – Bad Boy Bass (Alexis K BadGirl Remix)
Keep you eye on the Generation Bassblog for a limited free download next Tuesday!!
When it was announced that George Gershwin had left Beach Boy Brian Wilson in charge of finishing his unfinished music after his death in 1937, people knew that the end result would mystify but never knew when the day would come.
Well Brian Wilson Reimagines George Gershwin is finally here. The new LP will feature two songs that Wilson created from Gershwin's unfinished projects including "The Like in I Love You" which you can listen to here.
Wilson's band backs him on most of the album but holds a special a capella version of "Rhapsody in Blue" opening and closing the record.
Brian Wilson Reimagines George Gershwin will come to us August 17 from Disney Pearl. You can pre-order it here.
There will also be a vinyl release on August 24.
Track List:
Rhapsody in Blue /Intro
The Like in I Love You
Summertime
I Loves You Porgy
I Got Plenty of Nothin
It Ain't Necessarily So
'S Wonderful
They Can't Take That Away from Me
Our Love Is Here to Stay
I've Got a Crush on You
I've Got Rhythm
Someone to Watch Over Me
Nothing But Love
Rhapsody in Blue/Reprise
After the very successful release of their record, The Spirit of Apollo, N.A.S.A. has released a digital remix album, The Big Bang.
The new record features remixed tracks from their debut The Spirit Of Apollo album as well as two new tracks, one of which ("I Wanna Be Your Lover" features Max Hedrum and Barbie Hatch) is being offered today for free download.
The Big Bang transforms tracks from The Spirit Of Apollo into dance-floor hits while still holding onto the integrity and inspiration of the original tunes. The remixers on the new album include Herve aka The Count of Monte Cristal, Mr. Oizo, and LA Riots as well as a few mixes done by N.A.S.A. themselves.
Make sure you don't miss N.A.S.A. at the Audiotistic Festival on July 24.
You can pick up The Big Banghere.
Big ups to Chief Boima, who was recently asked by the Fader to make a mixtape for the World Cup. Full tracklisting here. You can follow Boima on his site and the blog Ghetto Bassquake, and on the Dutty Artz label, which is putting out his latest project, Techno Rumba
Serato’s The Bridge, as covered by Neil Bufkin in video for CDM above, is entering a beta phase. This is an invite-only beta, not a public beta, and it hasn’t launched yet, but you can register your interest. The Bridge met a decidedly mixed reaction here on CDM – the unique approach to coupling these programs isn’t for everyone – but I still expect it’ll be a big release, particularly for devoted fans of Serato.
This will coincide with a new beta for Ableton Live.
I’m of course obligated to pass that along, as part of my ongoing campaign to ruin DJing.(*)
Serato would like to invite you to register your interest in becoming a beta tester for The Bridge.
This does not mean the The Bridge is in an Invite or Public beta phase, so please do not ask where you can get it!
Beta testing is an essential and highly important part of the software development process and your help will ensure reliable performance upon final release.
When we do officially invite interested DJ’s and Producers to beta test The Bridge, you will need:
Serato Scratch Live with supported Rane hardware
A Serato.com forum account
An ableton.com account with a copy of Ableton Live 8 registered to it.
(*) Anonymous commenter on wire to the ear: “Blogger nerds are killing the coolness of DJing. I blame Create Digital Music and Richie Hawtin! I also blame Andre Agassi!”
Founded in 2006 by the DJ/producer Kidkut, the Immerse label traverses the darkened passageways linking dubstep, drum & bass, breakbeat, and techno. It's steeped in the musical history of Bristol—home to many of bass culture's most exciting mutations over the years—but it's hardly stuck in place, with a roster that ranges from Russia to South Africa to San Francisco.
The roster is unusual in other ways, as well. While Immerse has featured heavy-hitters like Benga and Horsepower Productions, many of the label's releases have been given over to relatively obscure names, often presenting their debut release. But it's also become a meeting point for artists affiliated with other labels as well: October, Sigha, Gatekeeper, Appleblim, and TRG have all lent their efforts towards giving Immerse its unpredictable (yet remarkably consistent) sound.
We asked Kidkut about the origins of the imprint, its roots in Bristol, and what advice he has for labels just starting up. Read on—don't miss Kidcut's selection of 10 essential Immerse tracks at the article's end—and dive deep into the world of Immerse.
For some time, I’ve been a champion of Livid Instruments’ controller hardware, because I like the principles behind it. The devices are handmade in Texas using sustainable woods and environmentally-friendly stains, are standards-compliant with open specifications, open source software, and driverless class-compliant operation on Mac, Windows, and Linux, and lend themselves to programmability and customization. They certainly have some of the spirit of the open source monome devices, but for anyone who wished the monome grid also had knobs, faders, and such, and didn’t require weird serial-over-USB drivers, it’s nice that we have Livid, too. This is not by way of advertising Livid, either. I really believe that generally, open configurability and small-batch construction result in hardware that’s more fun to own and use.
But, oh yeah – there’s also the question of what you can actually do with your music using these controllers. With grids, crossfaders, and faders at the ready, the Ohm64 and more compact Block each have plenty of control possibilities.
The gang at Livid, and the community of users this niche line has attracted, have been hard at work over the past months inventing new ways of controlling musical and visual applications. Here are a few of the best of those examples.
Of course, the wildest of all is the Renoise work at top by proflific Renoiser hitotori. Do not adjust your computer; there’s not something wrong with the speed of the video at top. (Who needs drugs, really – even caffeine – with music like that? I’ll have what he’s having. Check out his other YouTube uploads, as well.)
Here are some other applications:
Livid might be trying to manipulate our feelings by placing their product next to Poquita the dog, but…. nope. Too late. Already seen it. Already very cute. Photo courtesy Livid Instruments.
Reason + Ohm64
Before Ableton’s mapping features or Novation’s Automap, there was Reason and Remote. And the use of Remote scripts can still be very powerful, as seen here, complete with some keyboard tricks.
See Livid’s forums for the Ohm 64 Remote Script, which should work with any recent 8.x version of Live.
What’s most impressive about it is that, thanks to some ingenious work by Mike Chenetz of max4live.info, it not only “automaps” the Ohm64 but even provides access to the “red box” used by Novation’s Launchpad and Akai’s APC. You don’t even need a copy of Max for Live to pull it off.
There’s also now a script for the Block. I have to say, I like using the Launchpad with Ableton, but I’m constantly reaching for device knobs that … aren’t actually there. (The Launchpad only has buttons.) That means the Block wins out in day-to-day practicality for most users, unless you only ever trigger clips and never so much as adjust a filter cutoff or wet/dry amount.
Some of the most amazing integration comes from nativeKONTROL, the advanced scripting project that began with the KORG nano series. These are really advanced scripts that have elaborate, layered control of everything from sequencing drum racks to muting and arming tracks – more control, even, than you get from the APC40. Because it’s a script, you don’t need a special template (any file will work), and you don’t need Max for Live. nativeKONTROL omComponent handles the Ohm64, and just this week blockLive added the Block, seen below. These are payware, at $22.50 for the Block and $25-45 (depending on how many presets you want bundled in) for the Ohm. But they’re really quite impressive pieces of work.
I’m burying the lead a bit here: Livid’s open-sourced LividStep Max for Live device is about the most brilliantly useful patch I’ve seen yet. It finally fills a gap Live itself hasn’t managed to fill: it makes patterns you can step sequence live. Video part 1 below; see also part 2.
Here’s a demo video by user Monoque featuring some nice use of drum pads in Max for Live with Ableton Live. I’ll try to find some other information on the custom plug itself.
The crossfader, faders, and banks of knobs make the Ohm a natural DJ controller. (The Ohm itself was designed by folks who make and use VJ software, so that’s not a coincidence.) Using Traktor Pro DJ from Native Instruments, the Ohm becomes a controller for looping, cues, sync and bpm, mixing, effects, and even navigation of the browser.
Yes, while it seems almost every other recent controller has dropped the good, old-fashioned MIDI DIN connectors, the Block and Ohm64 each have 5-pin MIDI ins and outs. That means you aren’t only restricted to using them with software, as soillodge illustrates here with an Access Virus B and SU10 sampler, plus a noise swash pedal from the brilliant 4ms pedals.
Visuals
The Ohm64 was designed first and foremost by visualists, so it’s naturally a nice controller for those applications, not just Livid’s own Cell DNA, which comes free in the box.
The “saint” model. Photo courtesy Livid Instruments.
To me, all of this variety strikes home an important point: we talk a lot about of-the-box integration, but hardware is cooler when it works with more than just one piece of software. Even if you’re not a power user, your own personal needs may be different from someone else’s. In fact, if you’re not a power user, you’re even more likely to expect to be able to connect a piece of control hardware to more than one thing and have it work. We’ve seen that desire not only with the Livid line, but with gear like the KORG nano series and even devices marketed for use with one app, like the Novation Launchpad and Akai APC. That says to me that smarter control and open devices that allow users to easily contribute their own ideas make sense.
I’ve tried to feature some of the ideas from the community here, but of course the Livid gang have done the most videos, and I’m sure there are plenty I’ve missed. Are you a Livid owner with your own custom rig? Want to share your impressions, tips, templates, etc.? Let us know.
We all know what Anticon records are capable of, their history is strong and has always been full of quality, just take a listen to Why?, cLOUDEAD and more recently Tobacco.
A new electronic one-man outfit Baths (Will Wiesenfeld) will become a new addition for the label, becoming a torchbearer for the Toro Y Moi, Washed Out sound currently taking grip across the world.
His album Cerulian will be released early August and it contains a lovely portion of chopped up beats, sun drenched melodies and well handled production duties. He crosses over into dubstep territory as well, tapping into the whole Gaslamp Killer, Falty Dl and Flying Lotus sound as well. Not a bad record at all, especially the track '♥', something must be over in the drinking water in LA. Check his stuff out at Baths MySpace.
'Cerulean' will be out on Anticon in early August.
The etymology of the term "Renaissance Man" traces to the astonishing polymath abilities of late 15th Century Florentines like Michelangelo and Da Vinci; but while they cultivated a cultural reawakening by looking back to antiquity, the equally earth-shattering realignment of the cultural landscape perpetrated by a cadre of radically minded Downtown New Yorkers some 300 years later had its sights squarely on tomorrow. Laurie Anderson, composer, filmmaker, visual artist, poet, a Renaissance Woman, if ever, was one of its most prolific proponents.
Ms. Anderson went on to create some of the most poignant and visually arresting multimedia spectacles of our time, seamlessly combining cutting edge technology, futuristic mise-en-scenes, avant-garde theater, thought provoking politics (mostly about the U.S. of A.) and, of course, her wildly deconstructionist compositions, which often found her assuming other characters in the roles of vocalist or narrator. And then there’s that feral electric-violin playing of hers. It’s almost impossible to fathom how many dull artistic clichés have been exploded in her path.
Her new album, Homeland, arrives at a time when America is experiencing astonishing parallels with the late 1970’s that gave rise to her as an artist: escalating violence in the Middle East, a harrowing global financial situation, and a well-meaning Democratic president who is somewhat withering under public pressures. It is another fascinated yet shamed meditation on this nation, from the haunting opener “Transitory Life” to the eerie “Dark Time in the Revolution” to the sneering condemnations of quick-fix culture on “Only An Expert” to the monumental essay on our faltering, diminishing hegemony, “Another Day in America,” narrated by her male alter ego Fenway Bergamot, and with a stirring guest vocal by Antony.
We caught up for a chat with the peripatetic artist shortly after she and husband-since-2008 Lou Reed (who co-produced Homeland with Anderson and Roma Baran) had just come off curating the Vivid Live festival in Sydney. Never, ever sitting still, she was already deep into another project in Basel, Switzerland and is looking forward to a retrospective of her work later this year in Sao Paulo, as well as a book in 2011. Her phone never stopped ringing.
The Detroit mainstay explains his shift in style over the years to LWE, telling them that his early, sample-heavy tracks were conceived in this manner "simply for lack of equipment."
It's been a minute since we presented a Bomb Alert, but if this isn't occasion for taking cover in a bunker somewhere, I don't know what is. Radio Slave has pulled out all the stops on two new remixes of Ripperton's 'Leonor's Lanugo', on Joris Voorn's Green label.
The world got a little less interesting today: Rammellzee, an icon of New York hip-hop and Afrofuturism, has passed away, according to The Daily Swarm, who cite Fab Five Freddy as a source of the news.
Rammellzee was a rapper, graffiti writer, and visual artist active since the early '80s. A member of the Death Comet Crew and a collaborator of Jean-Michel Basquiat, he was a key player on the Downtown scene at a time when hip-hop, punk, and performance art intermingled at venues like the famed Mudd Club. Rammellzee was featured in Charlie Ahearn's 1982 graf film 'Wild Style' (get the soundtrack here) and also appeared briefly in Jim Jarmusch's 1984 film 'Stranger Than Paradise'.
A proponent of Afrofuturism, he was the author of cryptic statements like his "Iconic Treatise Gothic Futurism Assasin Knolwedges of the Remanipulated Square Point's" [sic], helping to pave the way for the black sci-fi mythologies of artists like Drexciya and Dr. Octagon.
Although Rammellzee's name is closely connected with a specific time and place, he remained active throughout the '00s, releasing three records on Germany's Gomma label in 2004. Check those out here. For more on the artist and his work, see Greg Tate's in-depth article at The Wire.
Brother from another planet, Godspeed.
