Thursday, 17 October 2019

Live Electronic Producers KIDSØ Share Latest Gem ‘Sparkle (The Mountain Howl Remix)’


Munich’s KIDSØ announced new release, ‘Sparkle (The Mountain Howl Remix).’ The track debuted on the 11th of October via Springstoff alongside its original. The Slow-burn techno act, The Mountain Howl, remixed the track.

KIDSØ are friends, Moritz Grassinger and Martin Schneider, the pair said that they have both been playing around with electronic and percussion elements since they were kids, They have been said to constantly push boundaries of possibility with old-dashioned 90’s electronics. Data Transmission describe KIDSØ “...minimal yet powerful crisp beats and warm waves of synth.”

Their live shows are legendary, using both live instruments and laptops, enabling KIDSØ to improvise and experiment on stage, leaving each performance idiosyncratic and completely unlike any performance before. The Mountain Howl’s remix of ‘Sparkle’ honours the essence of the original through a slower minimalistic approach. The Mountain Howl explained, “For the remix, I wanted to find some hidden textures and odd rhythms and celebrate them. Martin and Moritz have been good friends for a while now, and I’m always in awe of the tonality in their music. I wanted to really hone in on a few elements and see how I could evolve the track, from start to end with only a few ingredients.”



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Monday, 14 October 2019

Interview with Singer/Songwriter Nikita Zabroskov



Russian-based music producer Nikita Zabroskov creates a hop, Nu-Disco, Dubstep, Deep House, House, Electro House, Electro, Drum & Bass style of music. Nikita has been writing music for about five years now and has tried various different genres of music and still discovering something new.

Nikita Zabroskov likes old music and dark atmosphere in music. One of his music discoveries in life was the music of The Prodigy and he still listens to them and inspired by them. Nikita had solder the musical instruments himself and had designed covers and logos.

Looking back, what were some of your earliest entries into music appreciation? And music production?

Earlier, I wrote the music no different from the other ordinary performers of the garage scene, not very high quality. It wasn’t until the beginning of 2019 then I began to quietly grow and discover the sound of which I dreamt.

What inspired you to start making the electronic music that you are now?

Music from musicians: Burial, Volor Flex, Irrelevant, AtsuBox.

What key pieces of gear/software are you using to define your sound?

I write music in Fl Studio 12.05,  I also have not expensive but good quality headphones "Phillips SHP2500", Mixer Freeboss Pro-fx8 (For recordings microphones and my synths), Synth Korg Monologue, Sampler Yamaha-su200, Rack effects processor Proel Zetaverb, Children Synth Casio (I only use his with my effects processor).

Has your arsenal of equipment changed much since you first started?

Yes, I'm starting to write music on a very small and slow laptop (he made me very nervous), but in 2018 I start to build a computer and now all is okay.

Which three albums or artists would you say have influenced your sound in a big way?

Burial - ‘Burial’ (2006), Boards Of Canada - ‘Music Has Right To Children’ and The Prodigy - ‘The Fat Of The Land’.

Any new or upcoming artists on your radar?

I have collabs with my friends, but now I want to make music in style jungle-90s, and to write his first album in the style of jungle.

What inspires you outside of music?

Neon lights on the street at night, walking with my current girlfriend, sounds of real-world, black & white atmosphere photo.

What do you want to accomplish with your music?

Now I want to achieve the eldest of sounding rave culture 90s in their tracks, start doing real jungle music 90s, revive all of this and show current youth what such realistically is good music.

What, in your opinion would be the perfect genre fusion?

Oldschool sounds with dark tones, jungle rhythms, acid synths, more atmospherics sounds, and more live sounds.

What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?

I have no special plans, just one goal. Achieve a steep and the right jungle 90s.


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Friday, 4 October 2019

Music producer Lapalux released a new album ‘Amnioverse’



Lapalux (aka Stuart Howard) returns to Flying Lotus’ Brainfeeder for his fourth album. “Amnioverse”—“a sort of portmanteau of the amniotic sac and the universe,” he explains—revolves around notions of fluidity; that birth, life, death, and rebirth is a never-ending continuum.

He channels these ethereal ideas through a new and ever-expanding modular synth set-up, injecting human emotion, and layering recordings of weather, wind, rain, and fire, lending an elemental, celestial feel to the composition. While 2017’s “Ruinism” was about sonic wreckage and deconstruction, with “Amnioverse”, Howard took a different approach, basing each track around a snippet of spoken word from “friends, lovers, and ex-partners”, and building the music around it. He also reconnects with Icelandic vocalist JFDR (Jófríður Ákadóttir) who returns for two tracks on ’Thin Air’ and ‘The Lux Quadrant’, as well as vocalist Lilia on ‘Limb To Limb’, ‘Voltaic Acid’ and ‘Momentine’. “For me the real focus was that the whole record flowed,” he says. ”I worked on each song sequentially and wouldn’t stop working on a session until they fitted together and told the story that I wanted to tell.”

Initial inspiration for the album came from a photograph of James Turrell’s Twilight Epiphany Skyspace installation in Texas. “I looked at it every day for three years whilst making this record.” explains Howard, “People are sitting in what looks like a waiting room lit in a purple hue, looking up at the dark night sky through a rectangular hole in the ceiling. The image has so much depth and means so much to me.... it seems like we are all in that waiting room, waiting to be somewhere or go somewhere. That’s what I tried to encapsulate in this record.”

Turrell's influence extends to the album cover too, itself an homage to the artist’s groundbreaking work with light, shadow, and perspective. Conceived by Creative Director and photographer Dan Medhurst and Owen Gildersleeve—an expert in hand-crafted illustration and set design—the build stemmed from a vision that Howard imagined: “I initially had an idea of a person, or group of people, in an impossibly large room set in a fog of pink looking into a void symbolic of a womb or amniotic sac,” he says. “We then ran with the idea of making a structure that had a deeper perspective, the ever-decreasing octagon shape that suggests a sort of birth canal into the unknown.”

Support for Lapalux has come from the likes of Pitchfork, Mixmag, FADER, FACT, Dazed, SPIN, The Wire, A.V. Club and many more. With Benji B, Huw Stephens, Lauren Laverne, Mary-Anne Hobbs and many others championing his music across radio.

Capping off last year with two standout performances at the Brainfeeder X showcase at Brixton Academy, and alongside Jacques Greene at Brooklyn’s Elsewhere, Lapalux is set to return with a new live-AV show—driven and delivered by his modular gear set-up—to present a cohesive light, projection and sound performance.



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