Loud Sounds 60
We are coming back with "Loud Sounds" to show you some of the best new tracks we've found.
Morty – FLAVANOYAA (VIP Mix)
Morty comes back with a club rework of his original track, and it's a banger! Bringing together swinging drums, heavily reverberated synth melodies and vocal chops, it sounds like a dreamier, moodier version of Disclosure's best tracks. The composition is a dancefloor-filler, but it's also perfect for listening on headphones, alone and being lost in the music, much like the dance tracks from Caribou and Four Tet.
Morty comes back with a club rework of his original track, and it's a banger! Bringing together swinging drums, heavily reverberated synth melodies and vocal chops, it sounds like a dreamier, moodier version of Disclosure's best tracks. The composition is a dancefloor-filler, but it's also perfect for listening on headphones, alone and being lost in the music, much like the dance tracks from Caribou and Four Tet.
Morty
After releasing my album last year, I was toying with the idea of remixing some of those tracks into a small EP of dance remixes so that they could be played in more of a club setting. I absolutely love dance music, so I wanted something from my first album to represent that love! To get this going, I threw the album into some decks & mixed some uptempo tracks over them. FLAVANOYAA really stood out as something that would work really well sped up and turned into more of a straightahead house track. I'm a huge fan of Four Tet & Disclosure, so I think those influences just naturally fell into the rework of this. I also just started listening to salute, so that probably persuaded me to push the track from 121bpm to 130bpm and create an extra lively last hook.
For the production on this, I reworked most of the drums and kept a few tidbits of percussion from the original. I came up with a new rhythmic pattern/theme that dynamically changes throughout the whole track with my Prophet 12 and sub37. I mainly work in Pro Tools, but ended up throwing the main synth into Ableton to automate all of the parameter changes. The automation moves sounded way smoother in there! So after all that, I slightly changed the rhythm of the main chords from the original to fit the new synth part and, finally, added a whole new breakdown section that eventually builds into an over-the-top last hook. It sounds much different but all of the melody & most of the sounds stayed the same, which really helped keep the same sonic world as the original.
For the production on this, I reworked most of the drums and kept a few tidbits of percussion from the original. I came up with a new rhythmic pattern/theme that dynamically changes throughout the whole track with my Prophet 12 and sub37. I mainly work in Pro Tools, but ended up throwing the main synth into Ableton to automate all of the parameter changes. The automation moves sounded way smoother in there! So after all that, I slightly changed the rhythm of the main chords from the original to fit the new synth part and, finally, added a whole new breakdown section that eventually builds into an over-the-top last hook. It sounds much different but all of the melody & most of the sounds stayed the same, which really helped keep the same sonic world as the original.
PCM – R.E.M. Phase
PCM's previous singles, "Attraverso" and "Macro", were characterized by an impromptu process during recording and an exploration for shared resonance. However, "Dreamland" was assembled in a unique manner: the band members independently worked on ideas in different locations and time frames. Each member contributed different layers, with Cantaluppi leaning towards hardware synths like the Gr-1 from Tasty Chips Electronics and the Moog Voyager, processed through Eventide Space and Meris' Ottobit jr, while Perry Frank used his Fender Stratocaster and Ebow with a chain of boutique effects, and Milea pushed digital programming boundaries with a custom Synclavier VST patch. The resulting "Dreamland" comes across as an apt background score for entering the shared dream world we, knowingly or unknowingly, inhabit every day.
PCM's previous singles, "Attraverso" and "Macro", were characterized by an impromptu process during recording and an exploration for shared resonance. However, "Dreamland" was assembled in a unique manner: the band members independently worked on ideas in different locations and time frames. Each member contributed different layers, with Cantaluppi leaning towards hardware synths like the Gr-1 from Tasty Chips Electronics and the Moog Voyager, processed through Eventide Space and Meris' Ottobit jr, while Perry Frank used his Fender Stratocaster and Ebow with a chain of boutique effects, and Milea pushed digital programming boundaries with a custom Synclavier VST patch. The resulting "Dreamland" comes across as an apt background score for entering the shared dream world we, knowingly or unknowingly, inhabit every day.
