I’m very proud to announce the release of a new full length album, In Control.
In Control is an hour-long seamless mix of original house-centric dance music. It began life as many different tracks, produced at different intervals throughout the last 5 years. Earlier this year I scoured my projects archive to stem everything out for live performance, and spent a few months practicing and tightening everything up. In Control is the culmination of those efforts.
From a two-hour Live jam session (Ableton + Behringer BCR2000 + Novation Launchpad) I whittled and polished and huffed and puffed (my eardrums) until you get what you hear here.
Mostly house, sometimes not. Mostly nice, sometimes nasty, this album is available for “free” (pay what you want) over at Bandcamp
I spent the last few months getting together a live PA of some of my tracks and recently got around to recording some video performances. This is something I’ve been meaning to do forever, and even though it was a lot of work, it was definitely worth it.
Using a method outlined by Tom Cosm, I exported all my tracks into 8 stems (Kick, Drums, Bass, Synths, Leads, Pads, Vox, FX). I chopped up everything into logical sections and pasted it into Session view in Live. From there I refined the sections, adding opportunities for more live performance and switching things up on the fly. Some tracks are very free-form in that they can be performed however I want at the time. Others are more rigid and give an opportunity to breathe a little during the set. It’s definitely different than DJing : you have to really pay attention and can’t take a break to chat with people while you’re playing. That’s OK with me.
The Launchpad obviously takes the helm in terms of launching clips and sections, while I dedicated a Behringer BCR2000 to mixing and effects. It’s fully custom mapping on the Behringer, as I didn’t feel the Automap preset in Live really did what I wanted (as usual, it seems).
Each channel was a couple basic send effects of reverb and delay. Then there are a few rack devices that are mapped vertically for each channel on the Behringer, with the exception of Kick and Bass which don’t really need a lot of mangling during a set. The FX racks are basically a heavily modified version of the 8 Knobs Effect from 4liveme plus some odds and ends from the Aurex MFX racks. There’s also a custom glitch rack I made that increases stutter while decreasing tonality. It works great on drums.
The top row of the BCR2000 handle the effects for Synths, Leads, Pads, and Vox using the bank selection buttons. This gives me instant control over the major elements of each song. The BCR is great because the top knobs are actually also push buttons. You have a huge array of options at your hands when it comes to mapping effects.
That’s about it! It’s a giant work in progress, but because it’s so modular I can really mess around with it and move stuff around without fear. The few times I’ve used it to play out have been really fun. Another performance below :
More Or Less’ newest addition, Owen Sands, drops his debut EP on December 4th, 2012. They say : “Raw Glow is 4 tracks of tech-house gloriousness featuring remixes by Jeremy Blake and Justin Kase.” I say : “Pyramid”, the track I was asked to remix, is a monster. I need to get in the club to I can hear this thing on a real sound system, because I have a feeling it would melt my face.
It was an interesting remix challenge : as a melodic progressive guy there wasn’t much for me to sink my teeth into at first. I ended up re-purposing a lot of the parts as effects, ghosting the original structure of the track in an attempt to keep as much of the original as possible. I have a tendency to, instead of remixing, write all new tracks that barely sound like the original. I wanted this one to be different.
Anyways, it’s out now. Go get it at the MOL Shop, and make sure to check out the rest of the More Or Less catalog. All of it is fantastic.
I have a new set of tracks available for free download over at Bandcamp. These are dance numbers, and fall under my “Century Electric” moniker. Check ‘em out, grab the free download, and enjoy.
“Hedlok” has the distinction of being the first track that wasn’t for another label I’ve had professionally mastered. The honor fell to The Fat Mastering, an online mastering service specializing in electronic dance music. The price was great, their turnaround time was very quick, and I’m pretty pleased with the results. Would definitely give them another go.