When I first got into Eurorack there were not too many options for Reverbs. Now we have a handful including the Audio Damage and soon to be release Make Noise modules. Intellijel has announced the availability of the Springray. You can choose between three tank sizes and has a host of other good features. $240 and the tanks range from $10 -$25.
“PRE tank and POST tank Ambler Tilt EQ. VC Feedback. Limiter in feedback path so you can prevent high gain feedback from clipping the output. (Uses THATcorp RMS and VCA ICs). Selector switch to choose up to three different connected tanks (one on the front and two on the back). VC Mix of the wet/dry balance (uses a full linear VCA xfade circuit). Drive input with large gain (can overdrive the tank inputs). External processors can be inserted into the feedback path via the SEND/RETURN normalled inputs. Extremely interesting results when patched through modulated BP filters etc. Three different sizes of Accutronic tanks are available.10HP (skiff friendly)” – Intellijel
I use Audio Damage plug-ins all the time. I have to admit I was excited to see them get into Eurorack Modular however I didn’t grab any of their first efforts. On Chris Randall’s blog Analog Industries he posted info on their new module called Sequencer 1. I will be grabbing this one day one. Besides it’s myriad of features for the sequences themselves it has a mini keyboard quantizer (yes!) and a LCD screen with patch storage. This is fantastic. Expected to be released soon at about $600.
36HP, 20mm depth. 4 banks of 16 patterns, each pattern can be from 1 to 64 steps long. The entire state (all banks and patterns) can be saved to SD card as a preset, so the memory is essentially unlimited. Clock input can be per step (like any other sequencer’s clock), or 24ppq or 48ppq for DIN sync (via a simple 5-pin DIN -> 3.5mm adaptor). Clock output can be a staggering number of choices, which is handy if the unit is acting as the master clock. The Run input can be operated a couple different ways, as can the output. In short, it can interface to pretty much anything clockish, and can in turn drive pretty much anything in a clocklike fashion. Each step gets a 1v/Oct output, three CV outputs (that can each be either 0-10v, -5 to +5v, or 0 to +5v), a main gate output, and an auxiliary gate output. Gate length is programmable per step. The playback modes are forward, reverse, pingpong, pingpong with double end triggers, skip forward, walk, and random. This is programmable per pattern. There are several ratcheting features; you can program a ratchet of various lengths per step, or you’ll note the 6 buttons labeled “REP.” These will repeat, in order, the last 8, 4, 2, or 1 steps as a loop, or cause the step you hit them on to repeat in half or quarter time. (In the same manner that the MIDI triggers in Replicant work, basically, if you own that plugin.) As I hinted before, SD card for storage and OS updates.” – Chris Randall (Audio Damage)
I am in Berlin this weekend. Friday and Sunday I will be in Berlin hanging with some good friends including Miro Pajic and Petra Flurr. On Saturday I take the train to Magdeburg which is about an hour away. I will be performing at the huge Junimond Festival! It’s a club convention where venue owners from around Europe come to talk about taxes, lighting, sound systems and more. Most importantly they throw a huge event. This year there are 19 areas and 61 DJs/Live Acts! I will be performing some new tracks including my recent collaboration with Haujobb The Dancer (link).
“Das Line up wird wieder super bunt und interessant, die Clubs und Showcases auch mal ausgefallen und in jedem Fall hör- und tanzbar. Nach jetzigem Stand werden sich die Clubs auf 15 Floors vorstellen.” – Junimond Festival
One of the most famous synth synth sounds ever recorded is the bassline on New Order’s Blue Monday. It is in fact a Moog Source. Above Retrosound gets close but I think he needs a little more resonance. Ministry also used a Source in their Twitch era recordings. When I lived in Berlin I used the band Camouflage’s Source and was blown away by it. It’s also in my top five most beautiful looking synths ever. The Source was released in 1981 and Blue Monday in 1983.
“At nearly seven-and-a-half minutes, “Blue Monday” is one of the longest tracks ever to chart on the UK Singles Chart, and is the biggest-selling 12″ single of all time. Despite selling well it was not eligible for an official gold disc because Factory Records was not a member of the British Phonographic Industry association. According to the Official Charts Company, its total sales stands at 1.16 million in the United Kingdom alone, and “Blue Monday” came 69th in the all-time UK best-selling singles chart published in November 2012. The song begins with a distinctive semiquaver kick drum intro, programmed on an Oberheim DMX drum machine. Gillian Gilbert eventually fades in a sequencer melody. According to band interviews in NewOrderStory, she did so at the wrong time, so the melody is out of sync with the beat; however, the band considered it to be a happy accident that contributed to the track’s charm.” – Wikipedia
I don’t remember how I originally met Father Jeff. He’s a Industrial/EBM/goth DJ in the New York area. It must have been in the late 80s. I’m going to guess he was DJing at the IVY (The Haven) in Connecticut/Westchester or maybe one of the Long Island clubs like Paris NY. It was only a few words and then the 90s happened and I was off in techno land. During that time Jeff started his own night Ward 6. I ran into Jeff recently at the Mad World book release and realized it’s time to check out Ward 6 again. Tonight DJ Stalagmike is playing alongside Jeff. I DJed Mike’s event Defcon at the Pyramid a few months ago. I really like what Mike plays so tonight I’m going for sure. Come and join me for a drink. The Gallery at LPR. 158 Bleecker Street. New York, NY 10012
“WARD 6–Friday, May 16th..!! DJ FATHER JEFF and Guest DJ JET (Cybertron) and Guest DJ STALAGMIKE (Defcon). NEW WAVE-POST PUNK-GOTH-SYNTH-INDUSTRIAL Ticket Giveaways for DE/VISION–NYC Show–5/30!!! WARD 6 first opened on September 8th, 1990. Music to stop your mind from rotting.” – Ward 6
One of the greatest acid tracks ever by Tyree Cooper. Recorded in 1987. Two TB-303s in actions here. He’s from Chicago and now lives in Berlin.
“A fan of both house music and hiphop back in the 80s, the young producer sought to combine elements from both genres into the genre that soon went on to become known as Hiphouse. It eventually lead to the release of the now legendary ‘Turn Up The Bass’ in 1989, a track that –along with Fast Eddie’s ‘Yo Yo Get Funky amongst others’ is widely considered to be an all-time (hip-)house classic.” – beatsandbeyond.com
On Friday night I went to see Leaether Strip perform at the Santos Party House in the China Town section of New York City. In 1989 and 1990 I purchased two LS albums The Pleasure Of Penetration and Science For The Satanic Citizen. That was a great time of music and LS wasn’t close to the best of the bunch but there were songs like Touchdown Breakdown and Flight 232 that I put on my mixtapes. I have some fond memories of my brother and I screaming the LS song “Go Fuck Your Ass Off” basically making fun of LS in general. It’s probably that memory alone that made go to this concert. When I arrived I was surprised to a healthy group of people wearing black outside. I’ve never been to Santos Party House before. It was the perfect venue for a concert like this. It’s a small space with a stage, one bar and DJ booths on the other side of the room. The layout, black walls and properly pink and blue lighting made the night feel 80sesque. I read an article about the opening band Hirsute Pursuit stating it was an exciting subserve gay sex industrial act. I liked the music but I lived in Chelsea for 10 years and I saw more risqué interactions at my local New York Sports Club. I realized this is music for people who never have sex at all. I taunted the lead singer a bit so he decided he would give me a whip. I tried to help him along sticking my ass out but he still missed and what did hit my leg felt like feathers more than a punishment. I was glad to hear DJ Stalagmike take over the music. I danced and had a chance to meet P-Orridge from Throbbing Gristle and Physic TV. Finally Leaether Strip took the stage. Claus Larsen who IS the band doesn’t look like he used to. In fact these days he’s a spitting image of Michael Chiklis the star from the TV show the shield (link). He stood in front and sang to what was surely prerecorded music. An older guy who later someone told me was Claus’s husband was on keyboards far the the back of the stage. You can tell Claus has been doing this for decades as he is a good performer. I wasn’t expecting much and while the show was better than I thought I think I only heard one song from the albums I own. 6/10. To see the full set of photos: click here
“Leaether Strip is the work of Danish electronic dance artist Claus Larsen. Discovered by the German techno artist and producer Talla 2XLC (Bigod 20), Leæther Strip quickly built a buzz as one of the young acts in Europe in the early 90′s. His debut release in 1990 was the album “The Pleasure of Penetration”. By the time of Leaether Strip’s third release, Solitary Confinement, the act also was released in the United States.” – Discogs.com
I received clearance to repost the DJ Set I did for DI.FM Digitally Imported and Freitag Unlimited on Mixcloud (link) with my other sets. If you don’t already know Freitag is a great label London based record label. I recently remixed a track by Dead Sound for them and it was released on Vinyl. If you don’t know DI.FM just go there now and you can listen to a large selection of electronic music streaming 24/7. It’s very popular in the USA. Since this set wasn’t played live specifically for a crowd I was able to play some more obscure and unique items. Enjoy!
“Standing in the dark watching you glow. Lifting a receiver nobody I know.” – John Foxx
The extended interview I (The Horrorist) did at the Rockerill Festival in Belgium is now online (link) at Reflections of Darkness. I talk candidly about pretty much everything including EBM, New Beat, the 80s, performing live, love, drugs, New York and much more.
“she said: “Let me hear your music” and she did an amazing thing. When she heard my early music, which was all about “I hate this” and “I’m gonna kill you”, she said: “Oliver, this is all about yourself! You were singing about yourself. You hate yourself and you’re singing about it!”
I’ve been going through a lot in my personal life lately. Luckily for musicians change and life happening makes for great music. I’ve never been so exciting about recording as I am now. My day job has let me build a time machine our of music gear. I did an extensive interview at the Rockerill Festival last month which will end up in a few different languages and countries. They recorded my answers in audio and transcribed them so it’s an interview in which you can hear my real voice unlike many in the past. It was right after the show so I was pretty excited and talk candidly about a lot of things. When I was in Leipzig I was invited to record with the band Haujobb. I did vocals for a song now called The Dancer. It’s coming soon and the other side features Jean Luc Demeyer of Front 242. When you leave someone with your vocals that can make you sound pretty lame or like a master. They made me a master on this one for sure. I truly am thrilled with what they did. New album recording starts now. Your going to love this one. Time for the next round. The Things to Come.
“For certain things you want the real thing, like for bassline sequencing that’s gonna sound authentic, you want analog. You can do anything in digital but you have to work harder. Yo have to play with EQ, with effects etc. When you work with analog machine, you just play with the level and it sounds good. You don’t have to finesse it so much.” – Interview Excerpt (Oliver Chesler)