March 24, 2020
Minimoog Model D and iKaossilator could help create a hit in your bedroom.
If you’re a musician (or fan) whose concerts got scrapped over coronavirus concerns, you’ll at least have more tools to produce music when you’re at home. To start, Moog has made its Minimoog Model D iOS synth app available for free. It wasn’t hugely expensive to start, but this could make it easy to recreate the first portable synth and slip some Kraftwerk- or Dr. Dre-inspired sounds into your latest track. Moog didn’t say how long the price change would last, but you might want to act quickly.
Not to be left out, Korg is doing the same for its Kaossilator apps, which normally cost close to $20. Android artists can grab the software for no charge until March 20th, 2020, while the iOS crowd has until March 31st to get iKaossilator. Either app makes the most sense if you’re more into looping audio and variety than strict technical realism, but that may be all you need to add some spice to a future hit.
Elements is old enough to drink! I remember when it started and I was a resident at Sessionz where we were all like “Cool, another little DnB weekly at a bar, I wonder how long THAT will last?” 21 years is truly a monumental amount of time to run a weekly club night of any kind. Nevermind one based an underground genre spawned from the ever trendy and fickle UK where club goers often sometimes to change their whims about music more often than their “knickers”. A huge “BIG UP!” to first of all, Lenore who’s held it down since day 1 but also Bill Crook, Rando, Fox… (I know I’m forgetting and I don’t even know everyone who’s worked tirelessly over the years pushing this one along!) I don’t know if there’s another DrumnBass night in the entire world that’s run weekly for 21 years, at the same venue.
Few artists leave at the very top of their game.
No chance to get stuck in a creative rut and stagnate. No chance to compromise that original fierce vision they had when they began and start to sell out. No chance to fizzle out and just fade away.
Kemal Okan is one of those rare artists.
From 1999 to 2004, he was one of the most prominent and pioneering forces to stir neurofunk’s primordial soup, hurling in his own ingredients procured from a 90s youth growing up in the Glasgow techno scene. Be it solo, collaboratively or as one half of Konflict (with fellow Glaswegian Rob Data), his consistent subversion of dynamics, arrangement, texture and drum programming led to a whole legacy of cuts on labels such as Moving Shadow, Renegade Hardware, Timeless, DCi4 as well as Konflict’s own label Negative Recordings and Cryptic Audio.
Regarded as one of the most experimental and innovative artists who pushed drum & bass’s darkest and most uncompromising designs during the turn of the century, Kemal’s output had a huge influence on the direction of heavier, tech-based drum & bass… To the point his productions are still lauded 20 years later and tracks such as Star Trails, Gene Sequence and of course Messiah are seen as categoric anthems and still have massive dancefloor impact to this day.
But in 2004, he left. No explanation or warning; he disappeared. No more productions. No more gigs. There were rumours he felt the genre itself had got stuck in a creative rut. There were other rumours he’d become jaded with the business side of the genre. There were also rumours that the hedonistic side of club culture was challenging his own beliefs and approach to life. Either way, there was no official announcement and a near-mythical level of appreciation has developed around him ever since.