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
The Oh Drat studio move is complete! The set up, however, seems to be dragging on somewhat. Nonetheless, we’re nearly there and I’m really looking forward to getting some more tutorials out to you guys. As usual though, for now we’re marking the end of the week with some music to get you into the weekend.
There’s a necessary melancholy to music like this, as it conjures nostalgic memories, stirs latent desires and feelings, and ultimately fades into peace
Something about Somnipath’s opening gambit really reminds me of golden era Faithless; the ambience, clean sounds and involving atmospherics plus a certain thing I can’t quite put my finger on. As the LP progresses, the future garage tag seems an appropriate pigeon hole – Burial-esque Ark Vase, with filtered drums and haunting vocal snippets, is an archetypal example of the genre and it’s not alone on the album – but to get to the bottom of what ‘future garage’ is, beyond the recognisable wet drums and distant hums, is a difficult task. In many ways, the genre captures the slow motion, soft focused solitary float from afterparty to home, a soundtrack to silence of sorts as the memories of the night’s music and the distant thumps of the last flickers of the night rattle around a tired brain. There’s a necessary melancholy to music like this, as it conjures nostalgic memories, stirs latent desires and feelings, and ultimately fades into peace. Bonechild captures all of this with Somnipath.
Happy weekend, everyone.
This LP from DD-214 caught my attention due to the excellent purchasing options available for it. Digital distribution is a largely soulless experience, as much of a necessity as it is. However when self releasing physical products, we can embrace the individuality and freedom that doing it brings. DD 2-14 will ship with bonus materials, personalised and unique, and to both us as artists and fans that buy it, a special bond is created to the music when this kind of care is taken over it.
a special bond is created to the music when this kind of care is taken over it
Aside from any clever or endearing product packages, the LP is genuinely creative. The title track takes bass heavy, future garage and dubstep sounds and uncompromisingly pushes them in DD 2-14′s own direction, whilst other tracks take their own path, from the guitar laden Swamp Ichor demonstrating acoustic sounds to the frenetic bounce of the opener.
Fellow Englishmen will understand my high spirits over the past few days. As the days begin to finally get longer and warmer, the way our entire demeanours change is unmistakeable, and that change finds its way into every aspect of our lives, not least our attitudes to music and choices when creating it.
I get the feeling that my ears would receive this hazy, post dubstep LP from Sun Glitters entirely differently if we were back in November
I get the feeling that my ears would receive this hazy, post dubsteppy, future garagey, Burial reminiscent LP from Sun Glitters entirely differently if we were back in November, and I would hear the fuzz and cavernous vocal effects as a call to hibernation, thick clothing and burrowing in. In the light of the optimism that sunshine instills in my bones, I see brilliant sunlight, smell barbecues and feel grass on my neck, and long for the magic that ensues in the darkness of summer’s nightfall… Does the context in which we perceive sound affect our judgement when we make music too?
I recently interviewed Sleepover and their manager Paul Gaeta (aka fellow musician Panther God). Published next week, the guys touch on a variety of subjects including influences and directions for forthcoming work – it all sounded really exciting. Still, I don’t let myself get too worked up in anticipation for a group’s next EP when their current one is still so… current.
‘Fucking Evil’ retains the dust and noise that was so great about The Sun, but goes darker. Much darker
Until Paul sent me this. An exclusive, unreleased look into the future, Fucking Evil retains the dust and noise that was so great about The Sun, but goes darker. Much darker. Charlie Astro mentioned his new found love for uk garage, and the influence is clear in the skippy drum rhythm and gigantic sub bass. Mae’s vocals are more haunting than ever, the overall effect an expedition into a trip hop cum future garage domain and a scintillating glimpse at what’s next for Sleepover.
Don’t forget the Sleepover Remix Competition, which you have until the 23rd of February to enter, either.
Genre in electronic music is a progressively delicate ideal. With the constant, relentless forward pace of our broadband enabled lives, burgeoning moods and flickers of ideas are pounded to their logical conclusion with exponential brevity.
bounding sub bass, skippy, high pitched percussion and ripples of filtered orchestration pan the arrangement
There’s an irony to the way that the more recognisable a genre’s characteristics become, the less relevant it is; a series of cultural zeitgeists, chasing each other in ever decreasing circles.
Admittedly not the most succinct introduction, but this Stevie Wonder remix is unmistakably future garage, one of the prevailing sounds from the fallout of the populist dubstep implosion. A bounding sub bass, skippy, high pitched percussion, ripples of filtered orchestration panning the arrangement, and the reverb soaked vocal combine and confirm it – and this is a polished example.