This is chapter # 6 of our “Mix Series”. Created by the duo Shaka Bass (Luis Ángel Parra aka Zicklein / Matías Lago aka Matías Parkman), is an special studio mix dedicated to the future sound of bass music, a wicked multi tempo compilation of 29 tracks with original productions and massive tunes from Big Gigantic, Dubsidia, The Prototypes, Skrillex, Figure, Excision, Borgore and many more!
1) Illectrix – Roadtrippin’
2) Riot – Jazz Cat Funk
3) Big Gigantic – Blue Drean
4) FartechD & Squelch – Silverback
5) Musemesis – Gekommen Um Zu Bieben (Dubsidia Remix)
6) Xilent – Beyond
7) Matrix & Futurebound – Control (Feat Max Marshall)
8) Fred V & Grafix – Just a Thought (Feat Reija lee – Smooth Remix)
9) Shaka Bass – Catfish
10) Fractal – Itvara
11) The Bloody Beetroots – Spank (Feat Tai Bart B MOre)
12) Shaka Bass – En Mi Sitio (Feat Luso de Yara)
13) I See Monstas – Circles (I see Monstas Remix)
14) The Prototypes – Ligths
15) Cavar & Clock – Flare (Des McMahon remix)
16) Skrillex ft. Damian Marley – Make it Bum Dem (I See Monstas Bootleg)
17) Trampa – Jump Smoke
18) Zomboy & MUST DIE! – Survivors
19) LAXX – Brainbud (MUST DIE! Remix)
20) Figure – 9MM
21) D-Jhasta – Life’s a Bitch
22) Max Elto – Shadow of the Sun (Adventure Club Remix)
The Google team has created a very special doodle that lets you play music from your own web browser. This doodle is dedicated to Hip-Hop movement’s anniversary that according to Google reach 44 years.
Entering the doodle you can use a set of two turntables, a crossfader, a BPM control and a small collection of classic drum breaks, loops and samples. You also have a “sync” button that you can also deactivate to synchronize beats by hand.
Each recording is in stereo, so you can use your headphones or speakers you already have. A nice doodle to enjoy this curious tribute that includes a realistic experience of playing music and recordings.
We are proud giving to you “Under The Influence” (Original Mix) created by one of the most outstanding artists of the Latin American scene ZoundColector. On this occasion, José Parra has the collaboration of Eszee; producing a big nu-breaks track, plagued with beautiful synthesizer leads and futuristic pads.
“Under The Influence” also features a remix produced by Walstep, showing us a dubstep tint facet with subsonic bass and typical complex rhythms for dance floor.
You can download both tracks completely free.
Free Download Version (Mp3 320kbps) available here:
If you’re looking for an excellent TB-303 emulator, Yooz Music designed a free VST instrument to recreate this 303 classic sound. In the history of electronic music, this acclaimed bass synth has earned a place in the hearts of musicians and producers.
In a first time, was a bass emulator designed for guitarists to accompany them in their productions, TB-303 looked so little like a real bass, that their innovative sound ended up finding places totally different from those anticipated by their designers. Roland TB303 soon made a big noise in the emerging acid / techno scene of the late 80s – now, its sound is a classic.
Check demo below.
Yooz BL-303 offers seven well differentiated controls, which you will use to emulate acid and bubbly basslines. A control for pitch, a selector for two waveforms (used in the original), low-pass filter and emphasis for resonance.
The last three knobs are envelope controls, ‘Decay’ and ‘Accent’; next to the filter, these last three parameters will sculpt the character and length’s sound.
If you remember the ‘Accent’ and ‘Glide’ parameters from the original Roland 303, the first one accentuated the chosen note making it more prominent in sequence, while the second was responsible for stretching notes in a certain way through a portamento effect. Its control has been solved here without need for more potentiometers, all thanks to MIDI. To do this, you will depend on the speed of each MIDI note to activate the ‘Accent’ or ‘Glide’ effect, or both.
Yooz BL-303 is simple and easy to use, with immediate and very satisfactory results.
This is a 2015 re-boot of one of the first, and most popular “memes” I created for Dynamic Range Day
And the information it gives is just as crazy as it ever was.
Especially since none of these “loudness” differences will be audible in all the most popular places we listen to music.
Not on iTunes Radio.
Not on Spotify.
Not even on Youtube, any more !
And certainly not on radio or TV.
So if you’re wondering – “why do people still bother?” – you’ve got a point !
It’s not all bad news
Take another look at that infographic, though.
There are some interesting features.
Look at the 2015 releases.
As well as ridiculous results like Taylor Swift being as loud as Oasis, and Nicki Minaj being almost as loud as Metallica – there are two massively successful pop albums by Daft Punk & Mark Ronson that have great dynamics.
And D’Angelo’s critically acclaimed album “Black Messiah” measures DR8. In a genre like R&B where almost everything is clipped and crushed by default, that’s a serious result ! And it’s not alone – in an interview on NPR’s Hip Hop show, J. Cole described how he and producer Juro “Mez” Davis deliberately chose not to compete in the loudness war – and his fans loved the decision.
(To hear the right section of the interview, click here)
And there have been a host of other great-sounding, dynamic releases in the last year, too – some of them are nominated for the Dynamic Range Day Award 2015. Check them out, your ears will thank you…
It ain’t over yet…
Of course these are the exceptions, rather than the rule.
For every great-sounding success, there are ten more that have been smashed. As I said in my interview for CE Pro, the situation is getting more polarised, and will probably keep getting worse, before it gets better.
But loudness normalisation is a fact, now – and gradually, the music world will wake up to the new reality. Just as U2 and Pharrell and D’Angelo and Daft Punk and J.Cole and Opeth and Aphex Twin and Mark Ronson and Jack White and Paulo Nutini and The War On Drugs and many other already have.
Here’s the first full track from Aphex Twin’s forthcoming album Syro — and it certainly pleases the ear. Previously listed as “the Manchester track,” “minipops 67 [120.2][source field mix]” is four minutes and forty-seven seconds of musical bliss: hustling synths, syncopated beats, and some fractured vocal snippets to boot. Dastardly and heaps of musicality, just as we’ve come to expect, know, and love from the uncanny Richard D. James. Catch the first single “minipops 67″ below. Aphex Twin’s sixth album Syro comes out on September 22nd / 23rd via Warp.
It is safe to say that AK1200 is an artist to be admired, not only for his skills, but also for exhibiting a true dedication to the drum & bass scene—each and every aspect of the scene. Since arriving as a DJ in the late ’80s, AK1200 (born Dave Minner) finds it imperative to keep the drum & bass fire strong by promoting his fellow artists on the street or through social media. He continues to assist upcoming and established artists on his successful label, Big Riddim Recordings. When he’s playing live at a club in an area lacking junglists, he works twice as hard to ensure that when that promoter throws another party, the crowd will be doubled. “This whole community is a very nurturing one,” he says. “We all look out for each other.”
Insomniac caught up with Dave after his appearance at the Big Dub festival in Artemas, Pennsylvania, to get an update on the current state of drum & bass, the misconceptions about the genre and its fans, and what it takes to stay in the game for so long. Read the entire interview by Insomniac‘s Lori Denman-Underhill here.
Micky Finn and Uncle Dugs on the Rise and Fall of the Junglist Jungle, as pioneering DJ Micky Finn describes it, “the bastard child of dance music.” The underground movement born in Hackney, destined to take over the world. The love child of London’s sound system culture, and the late 80s… Read the full article by Junglist Network’s David Sullivan here
Few names are steeped in as much drum & bass heritage as Roni Size. One of the first artists to take the genre to the global, mainstream stage and show how creative and musical it can be, his 20+ year career has been littered with matchless moments… From winning the Mercury Music Prize to being the only D&B artist to ever remix Bob Marley.
The last few years may have appeared a little quiet in Size City, but trust… Behind the scenes he’s been plotting and devising a whole new chapter. A chapter that sees him taking full control of his own brand, his own beats and his own label Mansion Sounds. In his own words he’s “hungrier now than ever before” and his forthcoming album Take Kontrol is testament to this. We grabbed Power two weeks back…
Featuring a band of musicians he’s handpicked from other realms of music, Take Kontrol still rifles with some of Roni’s distinctive motifs – a firm funk bedrock, pulverising basslines that flex in from nowhere, surging vocals from Onalee, on-point mic command from Dynamite MC– but there’s a clear shift in dynamic and arrangement, too.
“I’m moving away from the Full Cycle sound. For me that era of Reprazents is 1993 to about 2008,” he says. “Sometimes you can go around rehashing the same old thing without realising. This is me stepping away from the roots and making music that’s more appropriate for our times. Drum & bass fills entire stadiums nowadays! It’s amazing to see crowds of 20,000 or 30,000 going off to proper drum & bass!
“It’s miles away from the roots I came through on. It’s not just about underground parties and having the most upfront dubplates possible. Drum & bass has broadened to include anthems. Big tracks that have huge crowds singing along. But it’s also totally credible. I love this new era drum & bass is enjoying and Take Kontrol is me taking part in that as I’ve always believed drum & bass would become as big as this. I’m proud of the role I’ve played in the past, present and future!”
And here are five examples of the role he’s played in our favourite genre’s rich history, handpicked by Roni himself…
“This isn’t just ravers raving, this is real music!”
1993: Being visited by Bryan Gee
Let’s go right back to the start. The original family… Me, Krust, Die, Suv, Flynn, Flora. Being in St Pauls in a creative area with my brother building a studio. We were broke but hungry. We were all on the same wavelength, all together. We were approached by Bryan Gee who came up to Bristol from London and told us he wanted to sign us for V Recordings. That’s the moment when we thought ‘yes, things are happening’. Bryan Gee sitting in my flat telling us he wanted to set up V Recordings and our sound was going to be the foundations of it. It was fantastic. We’d been following him for years and knew he wasn’t bullshitting. So he signed us and from that we were signed to Gilles Peterson’s Talkin’ Loud. Which brings me on to my second key moment…
1994: Signing off the dole
This was my graduation day! The day I went to the dole office and signed off. I knew I was up and running. Signing off, signing my Talkin Loud deal and knowing I had a proper job. From here I was just bombarded with incredible experiences which taught me so much. The whole relationship with Talkin Loud and Universal Records was fantastic and this is where it all began.
1997: Winning the Mercury Music Prize
I still remember it as clear as day. All of us sitting down in the Grosvenor Hotel, paying no attention to what was going on around us and hearing our name shouted out as the winners. I’d never won anything in my life, I haven’t got any qualifications, but I’ve got a Mercury Music Prize!
It was amazing. And what was special to us is that we had the go ahead from all the key players… Jumping Jack Frost, Goldie, Bryan Gee. They were all fully behind us, and told us to go for it. We put ourselves up there and said ‘this isn’t just ravers raving, this is real music’. Along with key people like Goldie, Photek and Adam F, we were at the very front showing people how big and how credible and how creative this music can be. We loved it.
The first thing we noticed after winning this was that we never knew the MDs or CEOs of Universal were. The moment we won, you bet we knew who they were very quickly! But when I look back that all led to a lot of meetings and, in the scheme of things, pretty boring stuff. Much better memories in terms of relationships come from Talkin Loud; getting to know people like Gilles Peterson was much more special and rewarding.
Was there any pressure after winning? Yeah there was. But it’s how you deal with it. Because there were so many of us, we absorbed it collectively. We embraced the pressure and ran with it. My name was at the forefront of the deal but it never would have worked without all the boys. From this we did tours, we did albums, we seemed to constantly be on tour… That buzz ran right up to 2008 before we realise that we’d disbanded and moved on to our own separate things. Which brings me to the next moment…
“My name was at the forefront of the deal but it never would have worked without all the boys.”
2008: New Forms 2
This was the first time I put out a record pretty much by myself without support from the Full Cycle camp or the V camp. It was me going back to the roots and work out who I am… Especially the business end of things. This is where the seeds were sown for me deciding that I wanted full control of what I do.
New Forms 2 was followed two years later with a full performance of the album at the re-opening of Bristol’s legendary Colston Hall. I had a full orchestra and choir and I spent a long time scoring and rehearsing and organising. It was so much work but I was always frustrated we didn’t do another show and follow it on. All that work for one show! I had such high expectations and wanted to do it again but it never happened. It was a wasted opportunity, and I knew from this moment what I had to do next…
“I love drawing for inspiration. People have been inspired by me, and I’m inspired by other producers. It’s how you reinterpret those influences and references.”
2014: Take Kontrol
All of those moments are precious but the most pivotal time in my career is right now! I have a studio in a great building called Metropolis. I have a great team of people and my label Mansion Sounds. It’s the next step from Full Cycle. What I’m doing now is down to me. I am responsible for every aspect of my business from the ground up. I have a team but it’s through my choice. I am my own CEO! It’s so refreshing and exciting and it’s taken me four years to get to this point… Hence the title of the album which I’m so excited about getting out there!
The whole album is my take on today’s drum & bass married with everything what I love from the last 10 years of the music. Of course I’ve been inspired by Pendulum and Sub Focus and all them. I love drawing for inspiration. People have been inspired by me, and I’m inspired by other producers. It’s how you reinterpret those influences and references. I have records by these guys in my record box and I wanted to make records that would fit with them. I’ve been DJing a lot of these tracks for the last year solidly and always get asked about them. In a way Take Kontrol is an album of special requests!
And from there we’re not stopping… We’re about to announce the next load of Reprazents shows and trust me, there is A LOT more new material to follow Take Kontrol. We’ve still the soul. We’ve still got the funk. Tune in and never ever tune out.