Moduloktopus - FutureClassics MIXTopus Mix and a Look Into the Imagination of the Electronic Music Chameleon

MODULOKTOPUS is officially a producer to watch. This Dominican Electronic Music Chameleon is creating amazing remixes and original beats in Boston, making waves around the country and via many blogs, like EarMilk and FutureClassics.ca - where he recently created the first in a Mix Series called MIXTopus. 

Moduloktopus has amazing range, which is what I look for when I write about and promote music. This guy and his sounds really caught my ear. His remixes are extremely creative and vivid, and pull from various electronic genres. Many are dance oriented, several of which are in various downtempo styles, fusing hip hop, trap, DnB, jazz, international flavors, and electronic sounds. I reached out to Moduloktopus to have a "discussion" about his music. I was excited to hear he's soon releasing new collaborations with rising stars NOMS and BRITE LITE BRITE. Like I said, Moduloktopus is someone to watch - he's got an amazing attitude, philosophy, sound and approach and that's what creates memorable music experiences. Read the interview with Moduloktopus below, listen to the MIXTopus and watch "Formless"!

DOWNBEATSCAPE: What's in a name...Moduloktopus?

MODULOKTOPUS: Suggested by my best friend Jose Gil Bernabe, the name is inspired from He-Man villain Modulok, whose powers included the ability to shape shift his body parts into weapons and plan complex schemes. I decided to infuse the name with the mythical reference of the Kraken and the Camouflage skills of cuttlefish. From those sources I created the name Moduloktopus. My interpretation behind the name is an Electronic Music Chameleon on a mission to adapt his imagination to any style he touches.

DBS: Tell me more about the set MIXTOPUS you just released with FutureClassic.ca...

MOD: Since I began uploading music on Soundcloud, Gabriel Pitman who runs the blog Future Classics, has always provided support for my releases. He wanted to start a mix series for his blog and I used it as an opportunity to start a new series of my own. MIXTOPUS consists of originals and remixes from my body of work. It also includes a lot of unreleased productions to make it special. This first one goes through 32 tracks in 50min. My goal is to make one every month or two for a specific blog, and include as much music as I can.

DBS: When did you get into music production and what does the future hold for you?

MOD: I got into production in my teens after my CDJs broke down. I had no money to fix them so I learned beat-making instead with Reason 2.5. Since those days I tried imitating my influences, but my real voice in production developed when I made the duo Dice Motion with Joel Friedman. We experimented so much and learned to piece together songs from start to finish. The future for me is uncertain, but I'm looking forward to playing more shows, artist collaborations, weekly releases, monthly releases, remixes, videos, and an undying effort to spread my diversity to various scenes in electronic music. I only want people to always expect something new from me every week.

DBS: What type of song do you look for when doing a remix?
MOD: I can pretty much play around with any essential element of a song to make a remix. What I look for is something easy to sample and to improvise with melodic or rhythmic twists. Most of the time I'll just recreate the original with a different flavor or experiment making my own dance floor hybrid version. My vision is to always find an uplifting feature to develop cause that's what the original song will initially do for me.

DBS: You collaborate with video artists and other producers when creating tracks, how do you connect with other artists and what is your collab process like?
MOD: Collabs happen naturally. Mostly because I come from a background of being in a band and acquainting with musicians on a daily basis. Always grateful to have musicians I am a fan of be my friends (Noms, M Constant, Jonathan Hoard, etc.. to name a few). It's a growing experience to have them add their musical strengths to your songs and push what you do in ways you never thought possible. When I was approached by videographer Michael Gold, we became fans of each other's style and the energy to work was seamless. He is such a chill guy to collab with cause he'll take my tracks and visually flip them inside out regardless of genre. Being a fan, having flexibility and staying inspiredly committed are the best qualities for a successful collab.

DBS: What producer, DJ or artist would you love to collaborate with?
MOD: I'd love to collab with so many, but to keep it simple I'd like to use the soulful side of my sound to go with: Sid Siriam, Jesse Boykins, Dvnny Seth, Hiatus Kayote, Erykah Badu, Lapalux, The Underachievers, Saul Williams, Sonnymoon, Bjork, Thriftworks, and Prefuse 73 to name a few...  On the Dance Music side I'd love to collab with Ookay, Willy Joy, DJ Sliink, M|O|D crew, Cashmere Cat, RL Grime, Herobust, DJ Rashad, Obey City, MikeQ, Brenmar, Hucci, Freddy Todd, Flosstradamus, gLAdiator, and many more... For the most part I'm pretty open when it comes to collaborating with anyone as long as the music serves its elevating purpose and reaches people. I encourage anyone out there who wants to collab to hit me up. At the moment I can announce you I'm collabing with Noms, Brite Lite Brite, and Jonathan Hoard for some releases in the upcoming month.

DBS: What's your take on the whole "trap" music explosion?
MOD: I have my personal view on it. To me Dance music will be Dance music regardless what tag we apply thru the ages. Whenever I see a genre being overgeneralized or overexposed, I like to use that opportunity to mix it around with other genres or ideas that could give it a different character and add diversity. For example in “Bessie's Bounce” I mix Baltimore Clap with my twisted trap style, “Wiggizm” trap with DnB, or on “Fckn Dance Flow” I infuse trap with Juke.

As long as producers can create music with an honest voice and authentic personality, any generalized music term can begin to diversify. Which is the situation when we look at the word Hip Hop for instance. I even believe trap is just another shade of Hip Hop, which for me is liberating when you think of the places to draw inspiration from.

In terms of the current hype cycle it's going thru, I'm pretty happy the dubstep lazer blasts have calmed down, and that 808 style beats with minimal elements can create the same effect on people. It has also made the entry level for producers easier to access, but the ones who thrive are the ones that stay connected supporting each other, refining their craft and share their authenticity with other artists. Now a days everyone who makes it big in “EDM” starts by remixing or collaborating with others. It's safe to say that when genre names explode it's that much easier to find people with a common taste, but you need to bring something different to the table that can stand out inside the genre. The best way for me to do this is mixing different genres or composing without thinking of genres at all.

DBS: "Formless" is a track that really caught my ear and eye, but it has a different feel from many of your tracks - how would you describe your musical range and what influences you to work with certain sounds and styles?
MOD: Good question. “Formless” is one of those situations where I didn't bound myself to genres, I was looking to simply piece together my sonic interpretation of Bruce Lee's words. That is what actually led to its diversity. As iconic as Bruce is, he resembles a wholehearted way of life and a big reminder that you gotta put your best up front. When a motivation like this is the key what drives the song, the results will always astonish you. It really gives me a confidence to leave my comfort zone and question how far can I take the music. The downside might be that I can't play this at a club, but the wisdom in its challenges can transfer unto the next club track.

DBS: Is there anything else you'd like to add?
MOD: Yes, Big Thank You to Downbeatscape for allowing me to express my views, and supporting my music. I'm currently looking to book more shows, so I encourage anyone out there to hit me up if you like what I offer. Also pay attention for new Souncloud releases and feel free to tell me what you Like, cause I love having fans be part of my creative output.

Formless - Moduloktopus from Michael Gold on Vimeo.

Artist Interview & Free Album Download: Simara - Yakushima EP

Simara (GTB Records) is a New York producer who recently released his EP "Yakushima." The EP features really interesting downtempo percussion that reminds me of other artists I've been into lately and including in my mixes, such as Sepalcure, Supreme Cuts and Tensei. The reverberating bass and staccato percussion sounds very natural, like they were created using sticks and stones and caves instead of a kit or drum machine. Simara combines this with Japanese strings and other lighter sounds that create a balanced and sometimes playful quality. My favorite tracks are "Water God's Lullaby" (chilled, introspection for weekend relaxing) and "All Night Long" (glitchy bass-trip for pre-partying). Check out a short interview with Simara, plus stream and download his new album "Yakushima" FOR FREE!



Downbeatscape: What does "downtempo" mean to you, and how does your work fit into your description?

Simara: Usually I associate downtempo with a relaxed pacing and mood - like ambient music with a beat. When it comes to my music, there's definitely a downtempo element. I've been heavily influenced by ambient music, but I also listen to a lot of artists like Massive Attack, Telepopmusik, Boards of Canada, Aphex Twin, Taylor Deupree, etc. There's a lot of overlap with different genres but I try to stay above all of that and just feel it out.

DBS: When you're producing, what part of a song do you start with to provide the foundation?

Simara: It really depends on what comes to me first. Sometimes I'll hear a melody in my head and I have to record myself whistling the parts on my phone or something, or sometimes I'll hear a percussion groove or I'll dig a particular sound or even just want to mess around with some general concepts. Having a variety of music helps with discovering and playing with progressions and synthesis. So, if something doesn't come to me melodically, I'll just work out some vague ideas in my head and let them grow.

DBS: The new EP is called "Yakushima" - what does that title refer to?

Simara: "Yakushima" refers to the forest with the same name on a south western island of Japan. The forest was a huge inspiration for movies by Hayao Miyazaki and Studio Ghibli films like Princess Mononoke and My Neighbor Totoro, which are movies I grew up with and really love. The forest itself is gorgeous, mysterious, and enchanting. To me, it represents the nostalgia and raw emotions from the memories I associate with my past and my encounters with the forest and Japan.

DBS: How has the New York scene and other areas you've spent time in influenced your style?

Simara: The New York music scene is crazy. I'm exposed to so many different styles. You can find me at a Grimes concert, a Baths concert, or even the Allman Brother's Band. A lot of people I'm around are into jazz, folk, and hip hop, so I'm thankful I don't have to go very far to be musically inspired. Before university, I thought I was going to be a house music or "electro" producer. I wanted to be a DJ. But I was never 100% into that stuff - I had always liked the alternative stuff, and my first ever album was a CD by a Japanese artist called Daishi Dance, who liked to use lots of piano and pretty melodies to accompany his beats. I really dug that. I think spending time in lots of different areas, whether they be physical or mental, really helps to carve out a groove. All the while you have to be open, you know? Inspiration is everywhere.

DBS: How do you distribute your music and achieve the production quality you expect?

Simara: This is the hardest part about it I guess haha. Actually, I'm no longer truly independent, since recently I was signed to a small label called GTB Records, which hosts a number of wonderful musicians and people. We are still getting off the ground, but its been fun even in the short time I've been involved, and the situation regarding distribution / production hasn't changed that much. To be honest, I don't spend too much time focusing on distribution. Every once in awhile I might send something to a blog I follow or a person I think might like my music. I just want to keep doing stuff for its sake. Production quality, of course, is a really tough issue when you're working alone (and when you're broke). You've just got to keep listening to stuff that sounds really nice, and try to emulate. There are tons of resources that I'm thankful for, and going through the motions of trial and error teaches me a lot. I try not to get too satisfied or fall into a particular pattern of doing things. Getting lazy never helps. If I have to automate a million parameters, or fix the smallest things, I'll do it. If I have to ask someone for their opinion, then I'll do it. But settling is never good. I can't level up that way.

Album Review & Interview with Mr. Meeble - Nostalgic for Now EP, Star Power Single

Mr. Meeble is an electronic glitch rock band from Phoenix, AZ. They just released their latest album and first in three years - "Nostalgic For Now." The album is a collection of music that captures the spectrum of introspection and emotion that nostalgia creates. Its electronic-oriented percussion and ambient synthetic overtones evoke a sort of happy-sad feeling - that contradictory experience of looking back on amazing times with both fondness and regret. Don't get me wrong - this isn't sad music. Mr. Meeble creates a very meaningful energy with this approach.

The single "Star Power" is a perfect example of this balance. Its chilled and glitchy wave of percussion drives you forward and relaxes at the same time, while melodic elements create space in the song which the vocals fill perfectly - telling the story of a man who longs to return (or remain?) in the world of another who makes him reach the upper limits of his potential. The video for the song is also incredible. It's a representation of what it'd be like to see Mr. Meeble live. Devin, the band leader, dons a mask called the "Ghost Portal" which projects an eerie but compelling visual of his likeness on a giant screen.

Mr. Meeble connected with me to share their new album and the video for "Star Power." I did a short interview with Devin, the band leader, and they've made a free download of Star Power available for one week only - announced exclusively via Downbeatscape! CLICK HERE FOR THE FREE TRACK (via Soundcloud)





Downbeatscape: Why the 3-year hiatus between albums? What was the impetus for a new one?

Devin, Mr. Meeble: Well, we have a lot of other things going on and 3 years goes by faster than I wish it did. I don't make a living from Mr. Meeble, so I have to juggle quite a few things. Add to that my tendency to be a perfectionist, and there you go. No real impetus - we just finally got a video done so
we released the EP.

DBS: There's a lot of emotion in your music. How does the balance between analog and electronic elements help create this emotion?

MM: Emotion is kind off an intangible component of music, but yet so fundamental. I would hope that our music feels like something... anything. Nothing annoys me like hollow music. As far as electronic and organic elements go - I don't know if we balance the two. I like both, I need both. Why not have both? Maybe Mr. Meeble is something like the corpus callosum. Right meets left.

DBS: What does "downtempo" mean to you? How does your music fits into your definition, if at all?

MM: Not sure what it really means, other than a very literal meaning of slower tempos. We use a lot of slowish to mid tempos, but I also really like fast tempos, so go figure.

DBS: What is it like to wear the "Ghost Portal?"

MM: I would like to answer something like "exhilarating" or "surreal" - but in reality it's a bit heavy and quite awkward. The only joy I get is sensing the energy of the crowd. The last time I wore it, I could really feel the peaked attention - a strange mix of wonder, excitement and confusion. That's fun, no doubt, but I still couldn't wait to take it off.

DBS: More and more artists are adding aesthetic entertainment elements - like the "Ghost Portal" - to their live shows. How do you see the live experience evolving ?

MM: Are more bands doing stuff like that? I still see a TON of bands touring with zero visuals. I don't know much about the future of the music business, except that music will continue to exist. I'm pretty sure about that. Oh yeah, did I mention that I love lasers?

DBS: What's your favorite song on Nostalgic for Now?

MM: hmmm... I would have to say Gift, with Star Power being a close second. I dunno why, I just resonate most with Gift. It's hard to pick a favorite when you've spent so many hundreds of hours deep inside of the innards of these tracks. I think artists lose all sense of objectivity.

Interview w/ Friendly Intentions, remix artists behind Gotye - Somebody That I Used To Know ( Friendly Intentions Chill Remix)

Friendly Intentions is a remix and producer duo in Toronto, Canada. They shared their latest remix - Gotye - Somebody That I Used to Know (Friendly Intentions Chill Remix) - a fresh downtempo version of a great but arguably overplayed song. This track pushed me to check out more of their remixes and original productions that range from chilled dubstep to chillwave to progressive house. One theme I noticed in their work is they apply the best elements of a genre without over-use, which can be a risk especially with dubstep these days. Another theme I enjoy is how they adjust tempo and rhythm through songs. This is a nuanced and often underused production tactic that really keeps people listening. Check out an interview with Friendly Intentions below and listen to a selection of their work (and follow them on Twitter!):





Downbeatscape: What does "downtempo" mean to you and how does your style of music fit in?

Friendly Intentions: This is an interesting question...I'm just going to throw at you what I view as downtempo. Generally, the rate at which the snare drum hits dictates the tempo. So, music that's below 80 bpm is downtempo. Of course this can encompass an enormous variety of music, each with difference energy and atmosphere. The shuffle of the drums is very important to the general atmosphere and relaxed feel of a song. The more irregular the shuffle on the drums and percussion creates more of a lagging and "down" feel. For example, dubstep has that really slow headbobbing vibe. (Let's assume dubstep is 70 bpm due to the half step drum pattern).

DBS: How do you select a song to remix, and what is your approach to remixing?

FI: When choosing a song, we pick those that have an interesting base, yet have the potential to be improved. For example, Gotye - Somebody I Used to Know has a great vocal line, but we felt the instrumental was lacking. We added our own personal twist and are very happy with the result. So far the remix has been received better than expected.

DBS: Your work ranges from chillwave to dubstep to prog house. How has this range developed?

FI: Our foray in electronic music has been an exciting journey, learning about the intricacies of sound design and sound itself. Every time we set out to create a piece from a genre we've never worked with, it's full of discovery. Each and every genre has specific elements and challenges that are often unique to it. Our goal is to push the boundary of sound design, yet keep our songs aurally pleasing. Extending our musical vocabulary allows us to borrow elements and techniques of other genres and incorporate them in our production giving a more original, less cookie cutter sound. Look forward to some new downright dirty electro and drum and bass songs in the works.

DBS: As a duo, how do you work together to create music? Do you each have "specialties" or roles?

FI: Individually, we are good at creating parts of songs, but struggle to finish complete ideas. However, when working together in our small home studio, we rarely run into creativity problems. We can sit through hours and get plenty of work completed. We have been friends for many years before we even made music together, so our chemistry is great. We have similar mindsets and personalities, which helps workflow tremendously.

DBS: How is the Toronto music scene compared to others you have experienced around the world?

FI: The Toronto music scene is amazing. We travel frequently for our jobs and its hard to find a great city like Toronto in music. There are music events for even the most obscure sub genres almost weekly. Perhaps that's why we are not genre bound, but rather set out to make whatever seems to work at that point in time.

Artist Interview & New Acid Jazz/Jazztronica Release: Outerattik - Attic EP

Outerattik, the UK's Jamie Smith, released his acid jazz Attic EP recently and it's a great downtempo tribute to the nostalgic early days of jazz that he discovered pouring through vinyl records in his parents' attic. As he progressed as a jazz musician, Jamie began to experiment with more acid improvisational techniques and electronic sequencing, creating a "jazztronica" sound that pays homage to his classical training and gives a nod to his interest in other genres like electronica and funk. Read my interview with Outerattik, listen to Attic EP and download his track Electro Funk #50 for free:



Downbeatscape: What does "downtempo" mean to you and how does your style fit into this genre?

Outerattik (Jamie Smith): Downtempo to me means groovy, laid back and atmospheric. Chillout music with some bite. Genres are so blurred that I find myself going in circles trying to define the music I produce. In essence, I produce downtempo with harmony and rhythms from jazz, funk and soul.

DBS: How did your interest in jazz develop and how has it evolved through the years?

Jamie: Early on I’d been playing and improvising over stuff that had some overlap with jazz: mainly American songbook material. My uncle introduced me to it, and how to play chords and improvise. A few years later I bought some jazz CDs and books and began learning how jazz worked. I plucked up the courage to go to a few jam sessions around town and eventually joined some jazz combos. It was a difficult transition from previously playing mostly classical music. Jazz is quite different and I spent six or seven years not being able to play well enough to record - really frustrating.

I’d also experimented with sequencers and computer music in my teens, and after playing jazz proper I wanted to combine the two. It was after playing in fusion bands and learning to play funk that I felt confident and versed enough to embark into acid jazz and form Outerattik.

DBS: How did you first get your start as a musician?

Jamie: Music was always in my family. My Dad still plays in a brass band (which I played in for a few years) and my Mum performs in musicals. I started piano lessons when I was six and began composing a few years later, first with pencil and paper then with a sequencer my parents got me for Christmas.

DBS: How do you like composing in the studio compared to performing live? How does the art of improvisation, so important in jazz, come into play in a studio vs. live setting?

Jamie: I enjoy both. Going from one to the other keeps things interesting. Playing live is exciting but often the sound on stage, especially if playing in a noisy bar, is a bit rubbish. Being in the studio allows you to concentrate fully on the sound and play with more nuance.

The stage tends to be where you can really stretch improvisationally. I find the studio experience to be quite tense because I know bad notes will be recorded! But on stage, you’re jamming in real time and can be spontaneous - I find that really exciting.



DBS: What gigs do you have coming up?

Jamie: I’m looking to take Outerattik live soon. I put some feelers out to other musicians to collaborate and I’m pleased with the enthusiastic response. Until then I’ve gotta write more tunes!

DBS: Where do you find influence for your songs?

Jamie: Sometimes I write tunes to reflect a particular experience I’ve had or mood that I'm in. Other times it’ll come from something I’ve improvised. This EP, particularly Attic Faery, has quite a nostalgic feel to it. The main inspiration was discovering music through my parents’ vinyl collection in the attic. It was quite eclectic.

DBS: Where do you see the future of downtempo music and of acid jazz in particular?

Jamie: Downtempo will always find an audience. It’s such an adaptable form. You can fuse it with other genres, like folk and jazz, and it works really well. Who knows what the next twist on it will be. I thought glo-fi a few years back was pretty good, bringing back that 80s pop sound but in a new way.

As far as acid jazz goes, I have a vested interested in a revival! They say these things go in 20-year cycles, don’t they? Musicians like BADBADNOTGOOD and Robert Glasper are having a lot of success at the moment with their jazz and hip hop sound, and a more mainstream audience is responding. So it’s an exciting time to be playing acid jazz.

Duck Sauce (A-Trak & Armand Van Helden) Interview - Governor's Ball is really their 1st NYC show as Duck Sauce!

I can't mention Duck Sauce and not share Barbra Streisand and Big Bad Wolf (Warning: video for Big Bad Wolf is, uh, weird)

An Interview with Therapist (Global Downtempo/Ambient DJ) - help him win a spot @ the TREE OF LIFE Festival!

Therapist is a downtempo DJ in Bulgaria that specializes in chillout, psychill and ambient styles. He is a regular at the European outdoor festivals and he shared a set designed to win him a spot at the upcoming Tree of Life festival in Turkey this summer. He creates his sets to be a fully immersive experience, where a listener can truly allow their feet to lift off the ground and float along, while allowing themselves to be moved by this energy that bubbles up inside them. I interviewed Therapist about downtempo music, DJing and festivals he's playing next. Listen to his set and read the interview below. AND, please comment on the set in Soundcloud - this set is for a contest to win a spot at the Tree of Life Festival, and the set with the most comments by June 15 wins. We want to help Therapist win, so please read the interview and click on the set below and add a comment:



Downbeatscape: What does "downtempo" music mean to you? Is it any different from chillout or ambient styles, and how do consider the terms/styles working together?

Therapist: Most people see "downtempo" as something that puts them to sleep, something to listen when they meditate or relax. For me, downtempo is much more than that. The term itself includes a spectrum of genres - all kinds of ambient, chillout, electroacoustic, IDM, dub and some world and ethnic music. Downtempo is a type of music that can explore a part of one's consciousness that very few genres can. It can produce unique states of mind and take you on a serene journey or reveal a part of you that you never knew existed. Also, it is not just the sound that matters - its the culture it brings with it, of positive and open-minded people.

DBS: How did you first get interested in ambient music?

Therapist: It was more or less an accident. I have always listened to electronic music, but never anything similar to downtempo. Few years back, I was listening to an online radio and an ambient mix started one morning - I was instantly captivated by the sound and it all began from there.

DBS: How did you first get your start as an ambient DJ?

Therapist: I have been mixing and producing in a few genres since the age of 17. I had a different alias back then, but my music varied from progressive trance to dark psychedelic and hardcore. I was experimenting and searching for the field I am most comfortable with and I think I found it with ambient (mainly psychill) some 5 years ago. Since the scene and community here in Bulgaria is very small and I was already a part of it, it didn't take much time to start recording mixes and participating on major events in my own country.

DBS: What have been the biggest challenges to you as an ambient DJ, seeing as many 'popular' scenes aren't always quite inclusive toward your style of DJing?

Therapist: The main issue, as I see it, is getting people to listen - [ambient] is not a genre that can be understood just by glancing at it. Downtempo isn't club music and most people aren't aware that the alternative is not just for listening to at the office or before bed. The best setting for such music are the open air festivals, which most people don't visit very often, for their own reasons. Even in Europe we have our versions of mainstream music that flood all the media and leave a lot of quality production (not just downtempo) behind. Still, I don't envision downtempo as something that can or should be everyone's choice of sound. The fact that it is mostly underground does not bother me at all. Also, the funding of most of the festivals in Europe is really limited, which makes it difficult to participate in festivals because of travel costs.

DBS: What festivals or other gigs do you have coming up?

Therapist: For the moment, my main goal is to help promote and form a stable ambient subculture in my own country - I am not only DJing, I'm also doing my small part in the organization of all kinds of indoor and outdoor parties and festivals - Chill Station, Artmospheric and Tangra festivals, to name a few. Apart from that, I am participating on the chill stage of Gaea Festival in Greece, which hosts some really great artists. Hopefully I will win the best set contest for Tree of Life festival in Turkey and participate on the chill stage there. I'm also having negotiations with few other festivals around Europe and an exclusive set for Q-Lounge.fm coming soon.

DBS: Where do you find influence for your DJ sets?

Therapist: I don't really have any DJ influence - I try to set my own path, using my vision of what the set should look like, forge a concept around it and hopefully send a message that the listeners can receive. Of course, there are numerous labels that have shaped my perception of the genre - Ultimae, Cosmicleaf, Altar, Soundmute, Dakini, Chillcode, Spiral Trax, Fluid Audio, Celestial Dragon, Twisted Records and many more.

DBS: Where do you see the future of ambient music going?

Therapist: Electroacoustic is becoming more and more popular at the moment, which is really cool to see - it is a very interesting mix of acoustic instruments and drones, a lot you can experiment with. Also, some of the major psychill artists are focusing on space and beatless ambient and there are a lot of great tracks and albums coming out. Personally I would like to see even more variety in the downtempo subgenres - mainly some ethnic and psychill variations, more experimenting and blending of different elements.

Rare Korean Jazz Grooves by DJ Soulscape - Turntable Lab Radio Mix

I've been listening to a lot of Turntable Lab Radio over the last few weeks, digging into their mix archives. This particular mix has really held my attention - it's all vinyl rare Korean jazz from DJ Soulscape - a Korean DJ and producer based out of Seoul.

Here's more about DJ Soulscape from The Creators Project: "DJ Soulscape is a wildly impressive Korean DJ and producer based out of Seoul. Deeply influenced by 80s hip-hop, his parents’ extensive collection of soul vinyl, and his engineering background, the musician is a culmination of diversity and contrast. Soulscape composes and arranges electronic symphonies reminiscent of K-pop, yet innovative in style and genre. The artist has been praised for his side project 360 Sound, a party series founded in 2005, that curates regular performances by influential Korean DJs."

Check out his Turntable Lab Radio mix here, and learn more about his approach to mixing and producing via The Creators Project:

Artist Interview: Rainbo - Volatile EP

Rainbo - an up & coming downtempo, electro hip hop producer in St. Louis - dropped his new EP on me and I'm excited to share it. Rainbo's music has a smooth downtempo vibe rooted in hip hop beats and organic samples from earlier eras, giving it a texture you wouldn't get with computer-based production. This sampling element is what caught my ear, so I asked Rainbo why he uses these samples. Listen to his EP, download it on Bandcamp & read why he finds certain samples below:



Downbeatscape: I noticed you mix samples from musical eras ranging from old, nostalgic, 50's to more recent. What inspires you to use a sample and why ones in these eras?

Rainbo: There are a few different reasons. The first and probably most important reason is the analog sound of these recordings. The natural saturation that occurs during the analog recording process is really difficult to recreate digitally. So for me its a short cut to a more organic sound. Also there's a bouncy soulful vibe that i was looking for, and just seemed to find more often in older recordings. Finally, i would say older pop/dance music has a much more human sound than modern pop. Being that modern pop is basically an auto-tuned vocal over synth and drum machine sounds, usually its easier to go back in time if i'm looking to add a human element to the track.

I have to apologize to Rainbo though - I lied to him. I told him I wouldn't post his replies verbatim, but as I read them I found that I didn't want to paraphrase or interpret. What he said really resonated with me and I thought was important for you to read too.