My latest Vinyl Anachronist music review is now live at Part-Time Audiophile. You can read it here.
Original Resource is The Vinyl Anachronist http://feedproxy.google.com/~r/TheVinylAnachronist/~3/8MYXwTFr93U/denise-mangiardis-brown-book.html
Original Resource is Sound & Vision https://www.soundandvision.com/content/free-arts-and-culture-streaming-during-coronavirus-shutdown
The question of how we measure success in hi-fi is a tricky one. Many years ago, The Absolute Sound magus Harry Pearson made a lot of hay about the idea of reality being the only valid metric when evaluating sound or systems that produce sound. Specifically, the point of your hi-fi was to recreate, as faithfully as possible, the sound of “the live event”. The best hi-fi systems would freely cross the uncanny valley; playback would be indistinguishable from the original. Real instruments, played by real people, in real spaces — that was ever the barometer, the referent, and the aim. That was “the absolute sound” — and our hi-fi systems succeeded or failed solely by their ability to create this illusion, to erase time and distance, to bring the performance into your listening room. Fascinating, right? I think so. I think many of us still think so. But what if it’s a load of crap? Many years ago, I wrote an article called: “Chasing the Absolute Sound“. This was an evolution of an article I wrote years before that, called “Your hi-fi sounds like crap“. Sadly, neither article has achieved “common wisdom” status, because I keep seeing/reading discussions online about how there is [...]
Original Resource is Part-Time Audiophile https://parttimeaudiophile.com/2020/04/08/what-is-the-absolute-sound/
Original Resource is Sound & Vision https://www.soundandvision.com/content/record-doctor-vi-record-cleaning-machine-review
“Blending luscious piano riffs with scorching acid basslines & punchy drum sequences.”
Byron The Aquarius is releasing a new EP, called What up Doe? Vol.1, via Shall Not Fade this May.
The EP sees him drawing on “luscious piano riffs, scorching acid basslines” and jazz-influenced house, alongside a track paying homage to the origins of techno.
What up Doe? follows the release of Byron’s debut album – Astral Traveling – on Mutual Intentions in 2019.
Head here for more info in advance of What up Doe? Vol.1’s 8th May release, check out the artwork and tracklist below.
1. Feelings Is It Real
2. Age of Ultron FT. MDMA
3. Techno is Black (Respeck)
4. Falling in Love (Dub)
5. Byron The – CyBoTrAx 05:51
Original Resource is The Vinyl Factory https://thevinylfactory.com/news/byron-the-aquarius-new-ep-what-up-doe-vinyl-shall-not-fade/
If Denise Mangiardi‘s Brown Book comes off as far more ambitious than the average release from a jazz singer, that’s because Mangiardi is far more than just a singer. She’s a composer, arranger and musician, and she’s been doing this for many years–Brown Book, in fact, is her seventh album. Instead of using a small jazz ensemble or even a big band, Denise Mangiardi employs the Slovak National Symphony Orchestra that, like Calabria Foti, takes you back to the ’50s and ’60s when people like Nelson Riddle and Henry Mancini were the rock stars of their day. Lately I’ve listened to quite a few jazz performers who try to do it all, just like Denise Mangiardi. They might have a gorgeous voice, classically jazz in all the right ways, and they might even play an instrument like a virtuoso. (Mangiardi plays piano and guitar, but on Brown Book she delegates those duties to Mark Soskin and Brian Seeger, respectively.) The arrangements might be top notch and the melodies might be memorable, but they always fall short when it comes to one thing–lyrics. Many times I can recall pulling a contemporary jazz CD out of the player because I couldn’t believe [...]
The post Denise Mangiardi, Brown Book | The Vinyl Anachronist appeared first on Part-Time Audiophile.
Original Resource is Part-Time Audiophile https://parttimeaudiophile.com/2020/04/08/denise-mangiardi-brown-book-the-vinyl-anachronist/
“Research into the ghosts we connect with on the dance floor.”
LCD Soundsystem’s Gavilán Rayna Russom is releasing a new album under her Black Meteoric Star alias, titled Disco, via her own Voluminous Arts label this April.
The album is not disco in style, but rather its name “has to do with the layering of time and life energy present in the spaces where we have traditionally danced to music which are sometimes called Discos”, explains Russom.
“Whether it be through partying in former industrial buildings, contested spaces of labor built on lands violently appropriated from indigenous people, uncomfortably inhabiting vacuums in queerness left by the AIDS epidemic, lifting lineages through sampling, or the relentless cycle of whitening that accompanies dance music’s march into the market, our experiences in the Disco have been permeated by the spectral and the haunted.”
Disco was made without multitracking or overdubbing, recorded directly from single live takes.
It follows the first release on Voluminous Arts – Russom’s solo album Secret Passage.
Head here for more info in advance of Disco’s 30th April release, check out the artwork and tracklist below.
2. Muscle Machine
3. Disorienting Shapes
1 Fluid Feline Forms
1 Apparitions On A Dance Floor
2 Whispers Between Worlds
1. Pelts Laid Out
3. A Charm Against The Evil That Men Do
1. I’m Unmelting
1. Purr Attraxxxxion
2. Freaks Only
Photo by: Jordan Rathkopf
Original Resource is The Vinyl Factory https://thevinylfactory.com/news/gavilan-rayna-russom-black-meteoric-star-album-disco/
“Settling into a swift 150bpm groove, Hauff ploughs through shepherd-tone electro, ghetto bumps, and grizzled techno.”
Read more: Record shopping with Helena Hauff
Its 31-tracks include exclusive new music from Hauff in collaboration with Morah, plus Umwelt, Galaxian, Machino and L.F.T.
The compilation and mix also features rare tunes by Curley Schoops under the Esoterik alias, DJ Godfather & DJ Starski as well as Andrea Parker & David Morley.
Kern Vol. 5 includes exclusive photography, as well as a download for the mix – to accompany the triple vinyl edition.
Head here for more info in advance of its 19th June release, check out the cover and tracklist below.
1. Esoterik – Mayhem
2. Mononom – Shrinking
3. Jaquarius – Metamine
4. Slaves Of Sinus – Chaos (And Me)
5. Galaxian – Private Tyranny
6. Blackmass Plastics – Holy Handgrenade
7. Volruptus – We Are The Cyborgs
8. Animistic Beliefs – An Eye For A.I.
9. Paul Blackford – Dance Yourself To Death
10. DJ Godfather & DJ Starski – City Of Boom
11. Dirty Hospital – The General
12. Galaxian – Glasgow To Detroit
13. SolarX – Bionic Man
14. The Advent – Work Dat
15. O-Wells – Park Jit
16. Privacy – Go
17. Morah & Hau – Segment 3
18. Somatic Responses – Open Window
19. Nasenbluten – Intellectual Killer
20. Subtopia – The Mob Rules (Umwelt Remix)
21. L.F.T. – Data Move
22. Q.D.T – Untitled
23. Machino – Ministerio
24. SC-164 – Telegraph
25. Shedbug – Sibelle
26. L.F.T. – Nucleon
27. Exzakt – Madrid Nights
28. Umwelt – Starless Night
29. Shinra – Pinwheel
30. Maarten van der Vleuten – Internaut
31. Andrea Parker + David Morley – After Dark
Original Resource is The Vinyl Factory https://thevinylfactory.com/news/helena-hauff-tresor-kern-vol-5-vinyl/
Sébastien Léger is an artist that continues to make his mark on the global dance community after over 20 years with his distinctive thought-provoking sounds and moving DJ sets. With his emphasis on hands-on, innovative modular production, his beautifully crafted productions have enabled him to make some of the most standout records on labels including Lost & Found, and All Day I Dream. Sébastien launched his own label, Lost Miracle back in 2019 and he is set to release the fourth release on the label, ‘Where The Heart Is’ by Shai T. During this crazy time I grabbed a little time with Sébastien to talk about his sound, unique production methods, and his Lost Miracle label.
When I spoke with Sébastien he was answering a few emails and feeding his dogs… for those of you out there that follow Sébastien you will know his a big dog lover. I asked Sébastien what was it that got him hooked on electronic music? “It was dance music with hits like Lil Louis ‘FrenchKiss’, Technotronic ‘Pump Up The Jam’ or Black Box, ‘Ride on time’. I was probably 9 or 10 years old watching those tunes at the top 50 from France on TV”. Certainly, some tracks I am sure a fair few of us can relate to and tracks many of us still love to this day!
Over the years the sound of Sébastien Leger has evolved into what is now a very distinct sound, and may I say, a sound he has become very at ease with. I asked Sébastien what some of the biggest influences have been in the development of his sound over the years… “My own mistakes over the years have been my biggest influence. This might be a strange answer, but I’ve learned a lot from myself, and I especially learned that being influenced too much won’t take you anywhere but just being a follower. I do not listen to music at all on a daily basis. Except for the tracks that I dig online to play them out as a DJ. I’m just obsessed with good grooves and melodies, I’m a disco, funk and in general black music fan. I need soul in what I do, hear and play”.
“I want to be ahead of my own game, being creative and not following a specific trend.”
For those of you who follow Sébastien Leger, you will be aware of his sublime looking and sounding modular setup he uses to produce his music (as well as new live jam sessions he is running over Facebook). I asked Sébastien how long it took him to get the setup he uses today? “The set up I have right now is a collection of modules that took me (only) 4 years to get. It got out of control, and very happy that it did as it simply helped me to create better and unlock my creativity where it was a bit stuck a few years ago. It has been a game-changer for me”. I went on to ask Sébastien if it was his goal to move to a modular setup and Sébastien answered, “it wasn’t planned at all. I knew nothing about modular synthesisers 5 years ago. I had a strong knowledge with “normal” synths in general, and I knew my basics subtractive synthesis at that time, enough to make good sounds from scratch. I just got into it a bit randomly with Instagram, having my timeline feed with lots of very attractive system and sounds, I got really curious and started with a very small system, which got out of hand very quickly”.
There is no doubt Sébastien’s sound has evolved over the years so I asked him how his studio has evolved… “I started 100% hardware, there was NO computer in my studio still 2007 which means every single track I have released from 98 till 2007 has been made only with hardware, drum machines, external FX, analog, and digital mixers and synth. Then Ableton came into my life out of nowhere, which was a game-changer for me and totally opened a huge world of new possibilities and especially the total recall, which wasn’t possible with only hardware studio. But I kept my synths and combined them with Ableton, I simply couldn’t go to all in the box, I’d still need a real instrument to interact with. Now it’s a healthy mixture of hardware (synths and modular) combined Ableton for the mixing/ sequencing part, using very few plugins, 95% are Ableton’s stock plugins”
Moving onto Sébastien’s productions, he recently released his ‘Secrets’ EP n Lee Burridge’s All Day I Dream and what a truly stunning release it is. I asked Sébastien to talk through the release, the thought process behind the EP, and his thoughts on how it has been received by the electronic music fraternity… “There are 3 tracks on the EP, the main one called ‘Ashes in the wind’ is born by a jam I recorded my modular system a year ago, without any drums, just the main bass/lead you can hear during the whole track. I recorded maybe 10/15 minutes of it, with manual filter, chord changes etc… then once I got enough material, Started to cut and edit the parts I wanted, built a beat, extra synth around, and that’s it! My way of making music is fast, simple. I don’t like to spend more than 2 days on a track. If you spend more than that, it’s just not a good track, you lose the feel, the spontaneity. The second track called ‘Menabelle’ has been created right after my hit track ‘Lanarka’ it got the same techniques that I used (discovered by mistake). This is typically the type of track that I born completely by accident, which is in my opinion, the best way to make music. The last tune, ‘Secret’ is actually the oldest of all, maybe 2 years old now for me, but it’s one of that track that you like so much, but never really have the chance to release it, because it is not the most obvious one, but is very special to me. A 50/50 mixture of analog synth and Ableton”.
I asked Sébastien, what can we expect from him over the coming months and his response will certainly get fans of his music rather excited, I know I was…”Something very new for me, I opened myself a bit more and started to collab’ with producers friends that I highly respect and like their music. You can expect some stuff made with Tim Green, and once again with Roy Rosenfeld. But that will be in a couple of months”.
Sébastien’s Lost Miracle label is currently on release number three (soon to be four) which was a superb release by Khen. Sébastien is clearly a big supporter of Khen’s work so I asked Sébastien what was about the music he liked and why does his sound fit Sébastien’s label so well… “Khen, Roy (Rosenfeld), Eli Nissan, they are all from Tel Aviv and all friends with each other. There is a very specific type of sound coming out from there, but what stands out the most for me is that they keep this very melodic sound but with a very good groove, it stays quite funky. It’s not something only pure progressive, a type of sound which I’m not very familiar with, as it is not my background at all. If it’s too much cold electronic, I just disconnect immediately”.
Whilst discussing Sébastien’s label I asked what he looks for in new artists? What would grab his attention? “I need to be surprised. I received a lot of demos in the past few months, and they were either completely off-topic or forced. For example, I receive a lot of tracks with a strong “Arabic” vibe in it. Just because I like and play some of it, doesn’t mean Lost Miracle is a label looking for this genre only. I want to hear something that stands out, but the sound design, the groove, the melody, the overall vibe”.
“I like my stuff being either groovy or melodic or both. So any cold straight aggressive music will go to trash immediately. Being original is key.”
I asked Sébastien, what was the main reason he wanted to start his Lost Miracle label? I have had labels in the past but this was the time for me to start a new adventure, as I am more mature in my taste, sound and vision. I don’t want to release too many EPs and on too many different labels. I’m focussing only on Lost Miracle and All Day I Dream for now. I want to keep this tight and family like. I just wanted to be free to release different things that I wouldn’t be able to release somewhere else too”.
For those of you that follow Sébastien on Twitter, you will know he is a man that likes to air his opinions and I must admit, I find it quite refreshing in this “we are offended by everything” world we live in at present. I asked Sébastien if you could change one thing in the scene right now what would it be, what drives him crazy? “I would change everything. But it’s not possible, you have to deal with all the fakes. Fake smiles, fake friends, fake followers, fake DJ’s, fake producers, the list is long. Is telling the truth online a good thing? I guess it’s tricky but sometimes it is necessary to say the things how they are, instead of ignoring it. I could, but I can’t. What drives me crazy? How fake this industry is. Fakers and liars everywhere”. Certainly, an opinion I (and many others) would not disagree with in any means!
Whilst on the subject of honest opinions, Sébastien recently made a comment about the overkill genre of “melodic techno”. I asked Sébastien about his comment, and what it is that he finds so soulless? “It’s soulless because it’s just a bunch of producers who copied someone who copied another one that actually created something at first. Hey, some people do like it banging for the sake of banging, they don’t care much as long as it works. I see so many DJs who, last year played what was trendy, now playing this “melodic techno” because it’s what’s popular, and will play what’s trendy next year too when they are bored of it. Which might happen soon. As it’s a constant circle. I’m just not feeling the techno/melodic techno movement these days, back in the days, it might have been banging, but there was plenty of groove and soul in it. Now it’s just music made by white people for white people. There is no what so ever vibe in there, just take some drug and there you go (btw, I do not take any drugs, near did and I don’t drink either)
“(melodic techno) music is just cold plastic sounding techno with very poor musicality in it.”
Before I left Sébastien to enjoy his day I had to ask if we can expect to see any live sets once we can all get back on with our lives and all he would give me is, “yes, and I will keep it secret for now”, which does sound promising so roll on late 2020 or 2021 maybe!
I would like to thank Sébastien for a great chat and providing some superb answers to my questions. Everyone at Decoded wishes you safe and well during this very bizarre time and all the best for 2020 and the future.
Press shots by Tom Hooliganov
The post “I don’t want to release too many EPs and on too many different labels. I’m focusing only on Lost Miracle and All Day I Dream for now. I want to keep this tight and family like” – Sebastien Leger appeared first on Decoded Magazine.
Original Resource is Decoded Magazine https://www.decodedmagazine.com/sebastien-leger-interview-2020/