Our outdated mates Luke Brancaccio returns with a strong peak time exercise for our Mix of the Week, hosted just lately on for the Selador Seesions.
This combine is completely timed for the discharge of Selador Decade EP3, freaturing atrack from Luke he made with hannes Bieger and Gai Barone known as Reflections, and it options right here within the combine.
Get able to rumble!
1. Luke Brancaccio, Hannes Bieger & Gai Barone ‘Reflections’ Selador 2. Verche Riptide’ (Luke Brancaccio & Gai Barone Remix) Particles 3. Jamie Stevens ‘With You’ (Sasha Carassi Remix) Music To Die For 4. Note 32 5. Capricorn ‘20HZ’ (Marco Ltd Remix) R&S 6. ORISS & Adam Sellouk ‘Protocol’ Been Touched 7. Victor Calderone & Mykol ‘Lawless’ Bedrock 8. Rodriguez Jr ‘Visions’ (Tim Engelhardt Remix) Feathers & Bones 9. Raxon ‘Cage Of Love’ Ellum 10. Josh Wink ‘Higher State Of Consciousness’ (Max Cooper Remix) Strictly Rhythm 11. Tokyo Fan Club ‘Atlas Shrugged’ Bedrock
MUSICA NYC, Manhattan’s largest nightlife vacation spot, just lately reopened its doorways with enhanced audio-visual options and a calendar brimming with a few of home, techno, and dance music’s most in-demand acts. Following a standout New Year’s Eve / New Year’s Day double function with Layton Giordani and Victor Calderone, the venue has welcomed a various array of expertise from beneath the digital dance music umbrella, together with the likes of Tita Lau, Louie Vega, GORDO, Danny Tenaglia, Nora En Pure, Wax Motif, Green Velvet, and extra. Now, venturing into the hotter months, MUSICA is thrilled to announce its stacked upcoming spring and summer time lineup.
Boasting top-tier names from all corners of the globe, reminiscent of Chris Avantgarde, Cristoph, Dombresky, Eli & Fur, Ferry Corsten, John Digweed, Korolova, Sam Paganini, and lots of extra nonetheless to be introduced, MUSICA prepares to welcome club-goers and underground marauders alike for its largest season but.
Continuing to construct upon an already spectacular season of highs, MUSICA plans to proceed increasing its domination with weekly occasions tailor-made to each sort of dance music aficionado. Its upcoming season boasts upcoming performances by Italian techno maestro Sam Paganini on March twenty fourth, enigmatic hardstyle phenomenon GRAVEDGR and dubstep don YDG on March twenty fifth, adopted by French home star Dombresky on April 1st. The following week, globally famend duo and Anjunadeep favorites Eli & Fur, whose melodic pressure of home and techno will grace MUSICA’s partitions on April eighth. Also in April, Taiwanese EDM, hardstyle, and psytrance sensation Pei Pei will make her NYC debut behind the membership’s decks on April twenty first. Per week later, on April twenty eighth, international progressive and trance veteran Ferry Corsten will probably be curating a high-energy evening for previous and new followers alike, adopted by rising Ukrainian DJ and producer Korolova on April twenty ninth.
Melodic trance extraordinaire and Anjunabeats mainstay Ilan Bluestone will make his MUSICA NYC debut on May fifth, adopted by the highly-anticipated NYC debut of rising Afterlife Recordings star Chris Avantgarde on May nineteenth. Globally beloved Bedrock Records head honcho John Digweed, whose ties with NYC nightlife run deep, is slated to take the stage on May twentieth. Finally, internationally celebrated expertise Cristoph will take over the soundwaves along with his signature mix of techno and progressive home on June third.
MUSICA NYC is powered by a seasoned workforce of nightlife and advertising professionals – JonPaul Pezzo (Trust Us Events), Mario Danza (TTYL), and Real Talent Management – decided to revive town’s home and techno ties and convey the beat again. Originally established within the Seventies, 637 fiftieth Street, the constructing that homes MUSICA NYC has a colourful historical past, with its roots firmly planted within the metropolis’s ever-evolving nightlife and underground dance music scene. Its multi-level dance ground, VIP balcony, and state-of-the-art sound system present an immersive ambiance that goals to offer its friends with intimate clubbing experiences soundtracked by a few of dance music’s top-billed artists.
The sprawling venue gives fully completely different experiences and limitless prospects on every ground of the venue. Donned as The Whisper Room, the bottom ground gives an opulent stage, a personal inexperienced room, non-public luxurious cubicles, and state-of-the-art lighting and sound. An enormous versatile occasion house, the Main Floor consists of two bars, a VIP lounge, a cocktail lounge, an clever lighting and sound system, and a newly-installed immersive video wall. Bringing custom and attraction to the sting of Manhattan, the illustrious venue gives attendees one-of-a-kind occasions that may’t be recreated, solely skilled.
As home and techno choices proceed to increase in Brooklyn, MUSICA goals to bridge the hole for Manhattan club-goers who’re on the lookout for a extra native and accessible expertise, with out diluting the essence of what the underground nightlife scene has to supply. Setting itself other than some other venue or nightclub in New York City, MUSICA’s upcoming calendar will present an immersive musical affair fairly not like something ever seen earlier than. For extra details about MUSICA NYC and its Spring and Summer lineup, go to https://www.musicanewyork.com/
Spatial audio is creating waves in the electronic music scene right now, particularly after Apple’s decision to adopt the format for its platform and Logic Pro adding spatial mixing to its list of native plug-ins. However, with Radiohead producer Nigel Godrich recently dismissing the format as “rubbish”, the jury is out on whether spatial audio can transform the scene in revolutionary new ways or whether it is just another gimmick destined to eventually be consigned to the scrapheap of technological fads.
In defining spatial audio we should perhaps make clear that the various guises and names it has gone under over the years are all the same thing. Whether we call it spatial audio, three-dimensional sound, binaural sound or even Dolby Atmos (the latter of which is in actual fact one particular brand’s name for it), we are effectively talking about a move away from traditional stereo recordings and into an immersive three dimensional sound experience that represents more realistically the impression of different instruments in a room or sound coming from different angles. The process essentially revolves around placing ‘objects’ (which we might think of as musical stems) virtually into different positions in the room thus recreating the experience of hearing a band with players in different positions and therefore adding an extra dimension of space.
While this sounds exciting it should be noted that it is not a particularly new concept. The electronic music scene is lagging behind other areas such as gaming where this technology is already widely used. As early as 2004 there were efforts to bring the technology to the scene but for some time it was felt that the sound could not translate to club environments. However, more recently the likes of Yousef and John Monkman have been involved in Dolby Atmos projects in various clubs. Add to this the work of Max Cooper (whose spatial experiments started as early as 2010) and who after releasing his seminal album ‘Emergence’ in Dolby Audio in 2016, has gone on to consistently deliver some of the most innovative live audio-visual and fully immersive sound experiences around. Whilst Cooper has always been on the cutting edge of spatial audio technology, working in collaboration with the Spatial Sound Institute, it is clear that the tide is now turning for the mainstream. Apple’s decision to only accept mixes with an accompanying spatial audio mix is driving change from the bottom up and consumer demand is growing as we seek ever more engaging immersive experiences. This along with healthy competition between companies on the cutting edge of technology has combined to propel the format forward. This progress has seen plug-in manufacturers and monitor makers scrambling to future-proof their systems by jumping on board the spatial audio bandwagon.
Nevertheless, the naysayers remain with some veteran producers dismissing the longevity of the format. To get a deeper insight into just how spatial audio may begin to permeate electronic music and the potential implications for the scene, I spoke to Bedrock producer Paul Nolan who has been working in a consultancy capacity with d&b audiotechnik. The German company have been pushing forward their own flexible spatial audio system targeted at a wide range of live environments and he recently sound tested their Soundscape rig at the Brixton Academy leg of Groove Armada’s recent tour. Having witnessed the impact of the Soundscape system on the audience Nolan is convinced by its potential to create a more engaging experience. “There was not one audience member on their mobile phone”, he grins. Having collaborated with the company since 2018 he says he has seen the technology mature recently as companies like d&b have focussed on making it work practically for music producers and performers.
“It is reminiscent of music production before midi when we have lots of different systems not necessarily speaking a common language” – Paul Nolan
He acknowledges that the tech has been around for some time (with clubs like Ministry having already had Dolby Atmos systems installed for years) but notes that d&b has cut pre-production times down from six weeks to zero making it now possible to just turn up and play a spatial audio gig. This opens up such systems as a tool for maximising emotional impact and dynamics on the dancefloor with the potential to envelope the crowd at certain key moments and play with the spatial mix on the fly. It seems that the spatial audio road test went down a storm with both the audience and DJs PBR Streetgang (who used the system for their set). However, Nolan is quick to point out that we are some way off the format completely taking over. “It is reminiscent of music production before midi when we have lots of different systems not necessarily speaking a common language” but predicts that within five years these issues will be ironed out and that we will see spatial seeping into all aspects of everyday life from music to facetime calls.
Nolan goes on to predict that all streaming platforms will soon follow the likes of Apple, Tidal and Amazon by offering spatial audio streaming and that the ramifications for music producers can already be felt. Plug-in and music tech companies are rapidly launching new product lines and he suggests this will bring “big changes not only in the way we mixdown but also in how we create music as we head towards being able to create music natively in these formats”.
“Technology should be seen as a powerful tool in the recovery of the live events industry” – Paul Nolan
While cost may be an issue right now for bedroom producers, the spatial audio wave is cascading across the music industry with venues from the Royal Albert Hall to Pacha already having d&b systems in place and the UK’s first permanent system due to launch in December. Nolan is buzzing about the impact the technology could have on the electronic music scene. He elaborates by saying that “technology should be seen as a powerful tool in the recovery of the live events industry” and that the “immersive experience” is the tonic needed to engage modern audiences. It’s hard to argue with his enthusiasm and whilst the jury may still be out on certain aspects of spatial audio, it seems that it could offer much-needed innovation in a scene that has threatened to stagnate over recent years. With any big change there is inevitably resistance but let’s just hope the format can help reignite the raw visceral experience that dance music once provided and drive people back onto the dancefloor and away from their addictions to mobile devices.
Tokyo Fan Club – the new collaboration from acclaimed producers Luke Brancaccio, Gai Barone, and vocalist Kiki Cave – present their debut album ‘We Live Electric’, released on John Digweed’s Bedrock Records.
Following the remix of Tokyo Fan Club ‘Horses’ from renowned Greek producer Echonomist, assupported by Dubfire, Andhim, Super Flu, Jimi Jules, and Adana Twins, ‘We Live Electric’ showcases Tokyo Fan Club’s hypnotic and unique sound, presented over two parts as mixed by Bedrock label boss, John Digweed.
Part 1 is a dancefloor focused, ‘80s / ‘90s influenced half, whilst Part 2 presents more of a soundscape, ambient album to highlights both sides to Tokyo Fan Club’s sound.
Tokyo Fan Club said: “We Live Electric started as an idea, a concept for outpouring all our favourite electronic music influences into one cohesive sound which grew into something that consumed us through lockdown. It’s emotive, it’s delicate, it’s unique and our most honest mature work to date. An amalgamation of three people’s visions perfectly rounded into a soundtrack for our time.”
John Digweed said: “Amazing album from Tokyo Fan Club which the guys have worked really hard on over the past two years, resulting in a futuristic album with a hint of nostalgic sounds that just works so well. The addition of the more electronic based reprises just adds an extra dimension to the album that will be a wonderful soundscape to those blissed out nights and days.”
Tokyo Fan Club – the exciting new collaboration from acclaimed producers Luke Brancaccio, Gai Barone, and vocalist Kiki Cave – announce their debut album‘We Live Electric’, released on John Digweed’sBedrock Records on 18 November.
As a delicious first taster of what people can expect from the album, a remix of ‘Horses’ from renowned Greek producer Echonomist will be released on 11 November, which is getting strong initial feedback and support from Dubfire, Andhim, Super Flu, Jimi Jules, Adana Twins, amongst others.
With his pulsating and atmospheric remix of ‘Horses’, Echnomist displays why he has become such an in-demand producer and remixer. The dark and hypnotic ‘80s electro soundscape is the perfect soundtrack for after-parties, showcasing Kiki Cave’s stunning vocal and is certain to get a big reaction when played out.
Tokyo Fan Club’s forthcoming debut album, ‘We Live Electric’ will be presented in two parts, mixed by Bedrock label boss, John Digweed. Part 1 will be more dancefloor focused, ‘80s / ‘90s influenced whilst Part 2 is the more soundscape, ambient album which will highlight the other side to Tokyo Fan Club’s sound.
Bedrock Records’ acclaimed Quattro mix series returns on 3rd December with ‘Quattro III’, featuring four eclectic mixes compiled and mixed by label boss John Digweed of new and unreleased music, presented across five CDs, on vinyl, and downloadable formats.
‘Quattro 3’ will include an exclusive artist album from UK house and techno DJ/producer Miles Atmospheric. With its warm synths, intelligent production and programming of electronic techno soul, the album will fit perfectly alongside the other CDs.
Artists featured across ‘Quattro III’ include David Morales, Pig&Dan, Farnkey & Sandrino, Dino Lenny, Robert Babicz, SOEL, Quivver, Sasha Carrassi, and Aubrey Fry.
Presenting over 50 exclusive new tracks, spanning luscious soundscapes to more club-focused beats and Redux remixes, ‘Quattro III’ also includes a specially curated album of outstanding atmospheric breaks.
For vinyl lovers, Bedrock has produced a very special 5 x 12” collectors vinyl pack featuring 20 tracks from the ‘Quattro 3’ release. The limited edition signed, and numbered vinyl and CD packs have all previously sold out of their full runs.
“It has been a year and a half since ‘Quattro II’ and I have spent many months searching out some incredible music for the latest edition. For me, these albums seem to get better with each edition. I have always been about finding new and exciting music from fresh up-and-coming producers. This time I have added an additional CD full of incredible breaks that really add an extra dimension to this series, alongside an artist album from Miles Atmospheric who has delivered some quality warm deep ethereal techno that is a breath of fresh air and perfectly complements the other 4 CDs.” – John Digweed
On his artist album, Miles Atmospheric said listeners can expect: “Ancestral communication. An individualist original artist album of deep ethereal electronic techno soul”.
