Perhaps no label in 2006 more distinctly reflected the fluidity of musical tags and genres than James Holden's Border Community. The nascent imprint is all things to all people. It's a techno label, an electro-house label, a psychedelic prog-house label, an indie label, and it even stands a chance of reclaiming the much-maligned T-word (ahem, "trance") back from the likes of Paul Van Dyk and Oakenfold. Read more »
L.A.-based instrumental hip-hop sculptor Flying Lotus (a.k.a. Steve Ellison) is a concept man first, gear hound second. His opus, 1983, is entirely indicative of that recording philosophy, and you'll hear how his eerie, electro-fractured sounds are hardly the product of Guitar Center-studio foolery. Instead, they come from a place of mental organization, far away from the world of gear shops and plug-in downloads. Here, Ellison walks us through some important components in making a Flying Lotus recording.
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If you thought Rush was geeky–with their hockey-hair mullets and myriad references to wizardry–then you haven't met fellow Canadian Owen Pallett. The 25-year-old Torontonian, who records strikingly original violin compositions and breathy vocals under the moniker Final Fantasy, attempts to "remodel fantasy fiction as a musical medium, and one that is satirical," he says. Central to Final Fantasy's aesthetic are '80s videogames, Lewis Carroll, and Gore Vidal's Duluth.
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Amid the neo-rave/'80s clubwear and serious party frocks of London Fashion Week, C.neeon's designs stood out boldly from the black-and-khaki-clad pack. The runway show from C.neeon–a brand created in 2001 by Berliners Clara Leskovar and Doreen Schulz–featured a cavalcade of interesting clothes bearing striking, Bauhaus-inspired graphical prints in colors (muted rust, celery, chocolate brown) last seen on '70s macrame wall-hangings, or maybe in the work of Art Deco painter Erte. Read more »
In the '60s and '70s, if you had the phrase "A Tom Moulton Mix" tagged to your record, you probably had a hit. The former record-promotions-man turned-studio-engineer took classic funk, soul, and R&B artists to new heights with his patented brand of mixing. But when disco came around, Moulton blew everyone out of the water by literally inventing the 12-inch single–because his mastering studio was out of blank sevens. Read more »
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