I used it in my sets, and I used it on the album. The technology allows me to play back digital files from a regular turntable and manipulate them, and because I'm playing digital files, I'm able to go in beforehand and interact or reinterpret these digital files, do my stuff, reedit tracks or take that break or vocal snippet out of the record because I didn't like it, or because I like it extended, so it's only this loop or this voice, and make it really monotonous.
If nobody had to play back a record the way it was made? If everybody could have their own special version of every track? And that's when I started to gel the ideas for this album.
OK, what would happen if I started to edit all these tracks into new versions but then started to intersplice them together and overlay them, much like a DJ does, but not having to overlay a whole record? Just one loop, one sample and then it started to get interesting, you know? RH: Partly. The technology was there. My partner, John Acquaviva, and I stumbled upon it and saw it in its very early stages, which was more of a great idea than an actual functioning product.
The actual mechanism of controlling files with a turntable was there. And what John and I were able to do was to kind of take it out on the road and really tweak it and test it and make sure that it really did do everything it was supposed to. Put in a lot of help to kind of create the right user interface to make sure DJs like ourselves can use this system. RH: Well, there's been technologies that are exactly like Final Scratch that have been out for a couple of years that allow you to do these things with a mouse, with a keyboard, with a set of knobs or sliders, but that's the problem with all digital technology right now.
A keyboard is great for word processing, and the mouse has found a good home with graphic designers. But for music and creativity, there hasn't really been any type of new interface. But with so many controllers on the market, can it beat the competition?
With an excursion to the centre of Paris, sampling and instrument pioneers UVI goes postmodern with a sizeable new collection of solo instruments — but not entirely as you know them. Have you ever dreamt of building your own touch control surface? This week, the revered Italian producer lets us into his studio and tells us how his Erica Synths Techno Machine got a runaround designing kicks for his new EP.
Nick Launay on producing Idles, vintage tech and keeping the fire alive in the studio Jim Ottewill - 15th September After three decades producing the likes of Nick Cave and the Bad Seeds, Kate Bush, PiL, Arcade Fire and Idles, Nick tells us how he approaches unique musicians, and why attitude is just as important as technical proficiency.
The house and disco producer lets us into his Tijuana studio, where head-bopping basslines and luscious guitar licks are made. The six-time Grammy-winning producer is taking a leap of faith with his debut solo project: a through-playing concept album exploring the outer reaches of record production.
We talk astral projection, alien voices, and putting distortion on absolutely everything. Ableton Live. Rose In The Dark, her debut album, proves to be excitingly worth the not so patient wait. Boasting the kind of singular voice that can tip-toe from a whisper to a mighty volume in a single breath, keep your ears to the ground for more, be they solo releases or collaborations.
Metal Preyers is an aural oddity that abounds in fresh sounds and darkened hues. Mas Amable by DJ Python. This change is also mirrored in his lyricism, which delves into sociopolitical issues, systemic racism, as well as his experiences in prison.
He covered music for the magazine Les Inrocks. A man with two daughters. And the Eagles of Death Metal show — by a band which was NOT a death metal band, by the way, but a fun, wry rock band — was the kind of show I would definitely go to. It makes me so very heartsick. But it also makes me want to go back out and cover more shows. To show those who would make me scared to go out to a concert hall, or a basketball arena, or a club that I will NEVER stop.
You cannot stop me. I will never let you. It means that much to me. Sure there are broken links everywhere. Good LP. Sometimes his music was more ambitious than good, but other times it hits the sweet spot. But it fits nicely with other stuff I liked at the time — Deacon Blue, the Adventures, etc.
Bell Witch, Panopticon, Converge, Worship and Planning For Burial all have double chances to blow people away — if you can get into the smaller venues then you find yourself surrounded by electric levels of excitement. Share this article:. If you love what we do, you can help tQ to continue bringing you the best in cultural criticism and new music by joining one of our subscription tiers.
Dan Bliss and Howard Iceberg have long been staples of the Midwestern music scene. Read my interview and more about it here! Because almost nothing sounds better than winding down the weekend with some old-time folk and a cold beer, head down to Stockyards Brewing Company on Sunday afternoon.May 22, · This weekend’s The Progressive Underground is an all-MOVEMENT edition as we feature music from acts who are part of the Movement Electronic Music lineup along with interviewing the heads of Paxahau, (Jason Huvaere, Paxahau President / Festival Director; Jason Clark, Creative Director; Sam Fotias, Director of Operations; Chuck Flask, Talent Manager) the agency .