Grit, vinyl crackles, and bit crushed sounds. It’s vintage OD Music We Love this week…
We’re not sure whether we’re missing a clever allegory slotted into Money Bubble and its tracks, but we’re certainly not missing the bounce… Continue Reading
Today we’ve got a really cool free download for Ableton Live – a drum rack filled with completely original, professional quality samples and a heap of technical behind the scenes type routing that will enable you to sound absolutely fantastic without having to do anything (except use it to make cool patterns, of course!). It’s designed for an eclectic slice of electronic musicians, and sounds fantastic for future garage, bass music, beats, and so on. It’s called Future; check out a few demos below, all of which were made solely with Future! Continue Reading
Right from the tough production spicing up some well known breaks on the opener, I was fully tuned into Grant’s self titled Grant LP.
We’ve had our eye on JuSoul for a while now, and his recent offerings have been quality through and through.
By Andrew McHarg
Rumbling low end and arpeggiated synths collide to create a sharp yet pleasing contrast in the new Au Palais EP ‘Tender Mercy’. A snapshot of the sound achieved here would be Depeche Mode crossed with The XX and a lot of reverb.
Au Palais record their music at night and it is reflected in the tone of the EP
Au Palais record their music at night and it is reflected in the tone of the EP. The title track ‘Tender Mercy’ makes excellent use of the low end to provide a ‘dark’ sound, yet its neon vocals transform the atmosphere into a more optimistic feeling. It’s night time, but it’s not neccesarily dark.
The sound of ‘Pathos’ reflects its title and moves into darker territory with brooding vocals and eerie synths.
‘Because The Night’ is the standout track for me – an evolving dream like sequence with a driving beat and a lot of tension.
The final track, ‘H.o.l.l.a.n.d’ is an instrumental number with bright, swirling chords and a unique squawking synth melody and departs from the darker tone heard previously.
There is a set sound throughout the EP, yet the Canadian duo inject enough creativity to keep it interesting. This, along with the attention to detail and high production value make it a treat to listen to.
The full EP is available on December 5th.
This week’s Friday music review is written by the newest writer to the Oh Drat fold, Andrew McHarg.
To All of You, the first LP from French producer Fulgeance, is an eclectic mix of worldwide styles all fused into a record that captivated me from beginning to end. Bass is a central element to all the tracks; standouts ‘Glasgow Lunacy’ and ‘London Falling’ throw the UK sub-bass style, future melodies, robotic vocals and pulsing chords into the pot, resulting in a totally unique take on bass music.
often aggressive, yet with a hint of quirkiness, resulting in an LP full of character
The album not only provides thick, in your face, bass centric tracks, but also treats listeners to a laid back, chordal number -’Hiver Normand’. The track’s ebbing and flowing chords are king here, and whilst the characteristic bass makes an appearance it is in a more subdued voice. Fulgeance often pulls no punches, yet his restraint here highlights the producer’s musical awareness.
To All of You is a credit to Fulgeance, who manages to impressively mix so many styles into a fresh sound. It’s often aggressive, yet with a hint of quirkiness – resulting in an LP full of character that will surely not disappoint.
London UK’s Jack Dunning, better known as Untold, is a relentlessly brave producer, whose willingness to throw musical curveballs results in exciting and sometimes innovative music (for conclusive proof, check the 2009 scorcher Anaconda at the bottom of the page). In between music, running his own label Hemlock Recordings, and a brand new collaboration in the works, we got Untold to drop some wisdom on The Questions…
The name of the first song i was really proud of was called: “Test Signal” on my first Hessle Audio release in 2008
Most fun person i’ve ever worked with: Samuel Chase - The singer I’m writing with on my side project “Dreadnought” He’s probably the most infuriating person I’ve ever worked with too.
Best musical advice i’ve ever been given: You’re only as good as your last record.
A piece of gear i couldn’t live without: SSL Duende plugins
A piece of gear i wish i could live without: My K701 headphones when I have to turn the volume down late at night.
My studio environment in three words: Standard nerd cave
A song i wish i’d written: Dillinja – Silver Blade
If i could do it all again, I’d: Do less remixes
Check out the highly individual Anaconda below, and those of you who want to get inside the sounds of Untold can do just that if you own NI’s Massive, with his new DnB/Dubstep Presets Loopmasters pack.
Some midweek musical inspiration today. In the UK, the weather’s been very strange this year; summer rallied very late, and has had the effect of making the impending clock change (it’s Sunday, people – that’s my public service for the week done!) and the rapid decent into winter mode that it brings about feel like it’s been snuck into our schedules.
deep, thick kicks, soothingly arpeggiated and suitably edge blurred synths, and a vocal that can be likened to candlelight, fragile yet with a concentrated warmth
That said, my mood’s already twigged, and those of you that share an almost split personality between your winter self and summer one will be starting to feel it too, no doubt. This track from Robot Koch is the epitome of the sound that tends to become my winter, as deep, thick kicks, soothingly arpeggiated and suitably edge blurred synths, and a vocal that can be likened to candlelight, fragile yet with a concentrated warmth – provided by John LaMonica – mesh in the soundscape. The video is… well, find out below. There’s nothing like a provocative video to make a great track that little bit more special.
There’s something very beautiful about the melting pot of sound that is Jaetriks’ self titled EP. From the sound of blunt, chip tune like synthesised waveforms to vibrant, acoustic sounds of flute and saxophone, the hints of traditional Japanese and Indian music juxtaposed with jazz, Jaetriks’ EP never stays in one spot for too long.
Jaetriks’ EP never stays in one spot for too long.
When it does, it’s got the familiar sound of the Beat Scene tying it all together, and whilst those are the more generic of the EP’s moments, they have a cohering effect on the breadth of material on offer – and it’s done well, too, from the drum patterns, which at times are so wonky they feel as though they’re going to fall apart and derail the entire track, to the chorded synths and subtle, pitched vocals.
Footnote: If you sent me a promo in the past 10 days, please resend it. I received some promos that were lost when I changed servers – please don’t think I’m ignoring you!