This track is the result of an old project I had been tinkering with for a while. Unfortunately I lost the original Ableton project file so this is a recovered version. The track is a electronic remix of Elridge Holmes’ Where is Love.
It’s been inappropriately long since I last posted anything here. Here is a fun mix for Kel.
- Gold Panda – India Lately
- Fatboy Slim – The Joker (ATFC Remix)
- Parov Stelar – KissKiss
- LCD Soundsystem – Daft Punk Is Playing At My House (Soulwax Shibuya re-remix)
- Laurent Garnier – Jacques In The Box
- Four Tet – Pyramid
- Joy Orbison – Hyph Mngo
- Gui Borrato – Gate 7
- Röyksopp – Poor Leno (Jakatta Radio Mix)
- Daft Punk – Alive
- Leftism – Phat Planet
- Tim Hecker – Rainbow Blood
- Nicolas Jaar – Colomb
- Luke Abbot – Brazil
- LTJ Bukem – Demon’s Theme
- Colin Stetson – Judges
- TV on the Radio – Staring at the Sun
- The Field – Is This Power
- Lucky Pierre – Angels On Your Body
- Apparat – Ash/Black Veil
- Bjork – Hyperballad
- Underworld – Two Months Off
- Boards of Canada – Turquoise Hexagon Sun
Over the last couple of weeks I’ve been doing a bit of recording with Folk It and friends. First set is a tune (as yet unnamed) that I wrote on the banjo with Mike Starkey on guitar. The second part may need a little bit of tweaking – it sounds a bit too much like a free jam! I’m definitely looking to pick up a four-string banjo at some point, they’re great for writing tunes if nothing else:
[swf file=”audio/EwansToon.mp3″] Banjo Tune
The second set is a couple of Irish tunes that we arranged with Folk It, and although we can’t seem to find the names of the tunes anywhere (please comment if you recognised them!), the set is called the Stingy Midges Set:
[swf file=”audio/StingyMidges.mp3″] The Stingy Midges
Eight months after entering the studio for the first time, we finally launched the album “The Grit That Makes The Pearl”. It’s been a fascinating process from conception to physical product, it really makes you appreciate the amount of work that goes into making a CD.
The majority of tunes and arrangement were done by good friends Hugh Marwick and Stuart Mackintosh, with fiddle from Gavin Marwick (of Bellevue Rendezvous), Sean Cousins on drums and myself on piano. We were also joined by the wonderful Eilidh Mackenzie on vocals and Calum MacGillivray on pipes.
For sample downloads / CD sales head on over to the official site (designed by myself), marwickandmackintosh.com. There is a tour to support the CD starting June 21st, starting in the Highlands but hopefully travelling further afield later.
It would be fair to say that I am a bit of a Boards of Canada nut. I’m sure everyone has at least one band whose releases they collect religiously, and believe me there are plenty to find for BoC including some stupidly rare cassette tape things (A Few Old Tunes is definitely worth tracking down online). It has been some years since the band last produced an album and their notorious reticence only makes matters more fustrating for fans. However news of updates to the official website looks encouraging, and we may well be seeing a new album within the next few months, although how their sound will have progressed in the last 5 years, given all that has going on in electronic music is anyone’s guess!
Anyway to celebrate this potentially exciting news, I would like to share a fantastic piano cover of one of my favourite Boards of Canada tracks, Turquoise Hexagon Sun performed by Goldmund.
Had a fun jam on the monome this evening. Experimenting with the inner loop function of mlrV. It ended up slightly longer than hoped, but it does have 3 or 4 distinct sections/movements which I’m happy about. Also using the tweakbench vst breadown, re-sampling live, then using the inner loop function again. You can get some lush minimal techno sounds from just a simple piano loop!
I’m keen to start posting stuff like this a bit more. I know it’s not particularly ground-breaking stuff, but it’s a good way to learn. You/I will hopefully see an improvement over the coming months.
Last night I witnessed possibly the best gig of the year for me so far. I would have been happy to see any of the four acts in their own right – the combination was unbelievable!
First up with a amazing live setup of various bits of electronics is Nathan Fake. The set is mostly in a similar vein to his more recent Hard Islands EP, playing synth-heavy, techno grooves though a few samples from his more ambient first album drop in here and there. He manages to make his performance feel pretty “live”, with plenty of tweaking and glitching on the fly – not just hiding behind his laptop. Too many electronic acts seem to use the phase “live” a little too liberally, playing essentially glorified DJ sets, but this felt genuinely fresh.
Next on the bill is label-mate James Holden with one of his much respected DJ sets. I am normally a little wary of heaping praise on DJs, but you can tell that Holden treats it as an art. At first not much seems to happen, but you start to realise that you are subconsciously starting to dance. It’s a slow build, but done to perfection. He has a confidence too, not a Tiësto superstar DJ preening, but the look of someone who knows what they’re doing.
It would have been pretty difficult for Kieran Hebden, aka Four Tet to follow two deep techno sets with the glitchy, folky electronics of his first few albums, and he doesn’t. Opening with a techno reworked version of live favourite Spirit Fingers works brilliantly though, sending the crowd into a frenzy. This is followed by plenty of tracks from his amazing new album There Is Love In You, which is a much more danceable affair. There’s a great moment during Love Cry when Hebden teases the crowd with just the opening snare hit of the main beat. With Pavlovian obediency, the crowd is tricked into a fleeting post-“drop” high. This is clearly an audience that knows his music inside out!
Finishing off the night is Canadian musician Caribou, complete with backing band. As with Four Tet, Caribou also sticks mostly to songs from his excellent new dance-orientated album Swim, though early classic Melody Day is much welcomed by fans. The drumming is superb throughout, occasionally with two drummers playing simultaneously. The synth parts are fantastic too, sounding very unique, intriguing and other-worldly. The only let down is the bass guitar which seems to sit far too high in the mix. This is a problem I’ve found at a few gigs recently, bass guitar so loud it distorts the air making it impossible to discern any sort of pitch, just a low rumble. But overall their set is very tight, and topped off with hypnotic visuals it’s the perfect end to the night.
All the acts are supposedly close friends and that definitely comes out in the music. Both Caribou and Four Tet’s sets have a similar groove to them, which also borrows from the much more techno driven music Holden and Nathan Fake are currently making. If you get the chance to see any of these guys, jump on it straight away. I cannot recommend them highly enough.
Just come across this amazing version of a Justin Bieber track slowed down by 800%.The detail you can deconstruct when you hear it so much slower is incredible: