“An enticing midtempo beat with lounge overtones. Her layered voice is produced well so each one enhances the other. A bit on the darker funky side, we dig the classy claps. Satisfaction is served from an interesting angle. ”
-Nagamag.com
https://www.instagram.com/nicko.soulchildren.odaiba
https://www.instagram.com/annamajidson
“We really like the funky breaks intro before the house kicks in. This is one very danceable track with plenty of old school elements integrated. Something about those single phrase repetitive house tracks that works its way deep into one’s psyche. ”
-Nagamag.com
https://www.instagram.com/iamchrisgerber/
ENGLISH:
New Release: Chris Gerber heralds a post-pandemic rave age.
“CU at the Venue” a phrase we haven’t been able to say for a too long time was packed by Chris Gerber into a 2 track maxi single to herald the walk into the clubs post corona disaster. After a long break from releasing, Chris tweaked his synths and tried his hand at various versions of “CU at the Venue”. The file Final_version_85_finafinal then embodied the two tracks “CU” and “At the Venue”. Alongside tender vocals from Fabian Baumert, a close friend of Chris’, the release reels out as an ode to pioneering UK clubs that played a major role in shaping electronic music.
The record kicks off pretty busy as different worlds collide in “CU”. In the intro you are greeted by a breakbeat, which develops into a straight four on the floor rhythm with iconic 909 drums. Vocal chops, bongos and recorded leads straight from a 1984 Casio synth take you back to an age when the internet still made dial-up noises before you could access colourful websites through Netscape. A breakdown in the center of the track presents the soft and almost eerie vocals in their full splendour. With renewed breakbeats and an aggressive synth bass, you find yourself in a call and response thunderstorm in combination with the vocal line.
“At the Venue” takes over the second half of the maxi single introducing a dry breakbeat from second 1 which meets hard 808 basses. With a nod to “CU”, hazy Trance pads then take you on a journey through a jungle of vocal chops and before you realise it, you end up back at the starting point of the track – a self-contained cycle.
“CU at the Venue” embodies the debut of Chris Gerber’s newly established label “Computer Toys”and can be heard worldwide starting 5th November 2021. Who knows, maybe we will see each other on the dance floor soon.
About Chris Gerber
Complex, cohesive, rough and atmospheric at the same time – to get to the bottom of Electronica producer Chris Gerber’s sound, these terms only scratch the surface. As a teenager, the Hanover native couldn’t find any bands in his scene, that he fit into, so he decided to take his musical visions into his own hands with his guitar and a loop pedal. With the discovery of Ableton Live, the wonderful world of electronic music was revealed to him. So Chris dove further into the playground of synths and drum machines, forgetting more and more about his guitar. With inspirations and role models like Jamie XX, Bicep and Denis Sulta, he creates his version of contemporary Electronica, with strong influences from the 1990s and early 2000s. Breakbeats, 909 hits and hard 808 basses, that are combined with warm synth pads and almost cheesy Casio-synth leads are part of Chris Gerber’s agenda. His productions are physically thrilling but emotively driven, while his approach is rather playful than serious. Despite Gerber’s musical complexity, you always intuitively know where the journey is going. The new maxi single “CU at the Venue” embodies the debut of his newly established label “Computer Toys” – satisfaction guaranteed.
DEUTSCH:
Produzent Chris Gerber feiert Label-Kick-Off mit Maxi-Single
“CU at the Venue” – Einen Satz, den wir schon zu lange nicht mehr sagen konnten, verpackte Chris Gerber in eine 2-Track Maxi Single, um den Gang in die Clubs Post-Corona-Disaster einzuläuten. Nach einer längeren Veröffentlichungspause, schraubte Chris an den verschiedensten Versionen von “CU at the Venue” bis die Datei “Final_version_85_finafinal” schlussendlich die beiden Nummern “CU” und “At the Venue”enthielt. Neben Vocals von Fabian Baumert, einem engen Freund von Chris, ist das Release eine Ode an die UK Clubs, die für die Entwicklung der Rave-Szene entscheidend waren.
Zu Beginn der Maxi-Single treffen in “CU” verschiedene Welten aufeinander. Das Intro wird durch einen Breakbeat getragen, welcher sich dann zu einem straffen Four on the Floor Beat mit ikonischen 909 Drums entwickelt. Vocal Chops, Bongos und eingespielte Leads, direkt von einem 1984 Casio Synth, versetzen einen in das Zeitalter, als das Internet noch Dial-Up Geräusche von sich gab, bevor man über Netscape bunte Webseiten besuchen konnte. Ein Breakdown in der Mitte des Tracks präsentiert die sanften und schon fast gespenstischen Vocals in ihrer vollen Pracht. Ohne Vorwarnung befindet man sich in einem spannungsgeladenen Call and Response Gewitter zwischen den zarten Vocals und einem aggressivem Synth-Bass.
“At the Venue” übernimmt die zweite Hälfte der Maxi-Single mit einem trockenen Breakbeat und harten 808 Bässen. Mit einer Referenz zu “CU”, begleiten einen trancy Flächen auf einer Reise durch einen Dschungel von Vocal Chops und bevor man es realisiert, endet man wieder am Beginn des Tracks – ein in sich geschlossener Kreis.
“CU at the Venue” ist das Debut von Chris Gerbers neuen Labels “Computer Toys” und kann ab dem 5. November 2021 weltweit gehört werden. Und wer weiß, vielleicht sieht man sich ja bald auf der Tanzfläche.
Über Chris Gerber
Komplex, rau und zugleich atmosphärisch – so könnte man Sound des Electronica Produzenten Chris Gerber umreißen. Als Jugendlicher fand der Hannoveraner keine passenden Bands in seiner Szene, weshalb er sich entschied seine musikalischen Visionen mit der Gitarre und einem Loop-Pedal selbst in die Hand zu nehmen. Durch die Entdeckung von Ableton Live offenbarte sich ihm die wundervolle Welt der elektronischen Musik. So tauchte Chris immer tiefer in den Spielplatz von Synthesizern und Drum Machines ein, wodurch seine Gitarre immer weiter in den Hintergrund rückte. Mit Inspirationen und Vorbildern wie Jamie XX, Bicep und Denis Sulta kreiert er seine Variante zeitgenössischer Electronica-Musik mit starken Einflüssen aus den 90ern und frühen 2000ern. Breakbeats, 909 Hits und harte 808 Bässe, kombiniert mit warmen Synth-Pads und schon beinahe kitschigen Synth-Leads vom Casio Keyboard, sind bei Chris Gerber Programm. Seine Produktionen sind mitreißend und emotional zugleich. Seine neue Maxi-Single “CU at the Venue” ist das Debüt seines brandneuen Labels “Computer Toys” – satisfaction guaranteed
“We just love a smooth lyricist laying down fire on top of some groovy jazz cuts. Its intelligent and sophisticated no way to deny it. The message must go on it needs to be heard. The trumpet solo is supreme and you can tell these are the real Jazz Cats. ”
-Nagamag.com
https://color-red.com/collections/vinyl-records/products/greatest-hits-lp
FUTURENOT continues to drum up the excitement for their debut record Greatest Hits with the release of their third single, “Supernova” featuring Seattle-based MC Moe Betta now available on Color Red. Led by horn mavericks Jason Cressey (True Loves, Monophonics) and Peter Daniel (45th St Brass), the band is rounded out by fellow trailblazers in the Seattle music scene Tim Kennedy (Big Tooth, keyboards), David McGraw (True Loves, drums), Cole Schuster (big bad thoughts, guitar), and Mark Hunter (The Dip, bass). Tonight, the band will celebrate the release of “Supernova” with a hometown performance at Drunky Two Shoes BBQ in Seattle with support from Jaws of Brooklyn and DJ Abe Beeson.
http://futurenotmusic.com/
"Supernova" is the densest track on the forthcoming album Greatest Hits. Originally written by Jason, the song started with a simple bass line that evolved into all of the smaller pieces that make up this vibe machine you hear today. Like its title implies, this track is exploding with power and illumination. Massive pocket, deep bass, driving lyrics delivered by a veteran emcee, crispy guitar, otherworldly synth sounds, soaring horn melodies, peaks, and valleys, 'Supernova' takes you on a journey that has something for everyone. The track was the first of three songs the group wrote in collaboration with Moe Betta and one of the newer additions in their repertoire.
https://color-red.com/
Cressey and Daniel looked at the pandemic and their newfound time away from the public performances as an opportunity to hunker down and produce the cinematic, jazz-inspired, hip-hop crossover music they had been crafting together over the past several years. The album title seems like an oddity for a brand new group releasing their debut LP, but as the group explained in a feature piece with Abe Beeson of KNKX’s ‘The New Cool’ it “represents the ‘greatest’ moments from several dozen musical ideas they've been working through even before FUTURENOT was formed.” The album embodies an eclectic musical palette as it incorporates elements of “Theme from Shaft”-like anthems, vibey cinematic soundscapes, and conscious, yet lighthearted hip-hop impressions that appeal to fans of high-profile cross-over projects like Roy Hargrove's ‘The RH Factor’, Robert Glasper’s ‘Black Radio’ and crate diggers mining for old instrumental soul 45s alike. It’s vintage-inspired music realized through a modern lens.
“Take my hand lover, lets skip this joint and get to know each other. Is what we would expect to hear whispered to an ear during this tune. It’s fresh with a solid piano performance and an additive beat that flows oh so good. ”
-Nagamag.com
https://www.instagram.com/musicphrase_music/
“Elegant and proportioned. Perfectly tuned for a night drive into the abyss or a brisk walk through a glowing metropolis. Almost spiritual as good music should be. Deep house vibes crafted skillfully. ”
-Nagamag.com
A very emotional song with excellent sound design and a great chrod progression.
https://www.instagram.com/adamtaubermusic/
Adam Tauber a fresh but experienced talent in the electronic music scene was born in Germany and heavily influenced by EBM artists such as Anne Clark, Gary Numann or DAF in the mid 80s. In early years Adam got fascinated by electronic music and sneaked himself out of the house to play as a DJ all night long in a nearby Club. Throughout the 90s and 2000s he developed his career and played in the most famous clubs national and international such as Pacha Ibiza or Cocoon in Madrid. Unfortunately, he had to cancel his career due to a severe tinnitus. After many years of recovery, he decides to give his fascination of electronic music another chance by releasing modern state techno music in 2021 .
“We tend to live our life fast, constantly being in rush and always comparing ourselves with others. What's the reason for all this? "Emei" reminds us the fact that being "Late To The Party" is absolutely normal at all. Lovely Electro Pop single that brings its positive energy in your place. Relax and enjoy.”
-Nagamag.com
Late to the Party is about my feelings around the pressures placed to achieve so much at a ridiculously young age. Inspired by constant comparison to 17-year-olds breaking records, the song asks “what is all the rush for?”. As the first alt-pop record made with producer, LEXIM, Late to the Party has a new badass against-the-grain attitude. The chorus will leave you singing "twenty one without a grammy or degree” regardless of your age or status.
https://twitter.com/its_emei
https://www.instagram.com/its.emei/
https://www.tiktok.com/@its.emei
“Prepare for a magic trip with Hannah Schneider. Her Cinematic work is based on piano keys and impessive voice capabilities. The mix is slow and powerful, full of tranquility and with some taste of melancholy that cannot leave you unaffected.”
-Nagamag.com
Cinematic singer-songwriter Hannah Schneider will be releasing her latest single, ‘We’ll Be The Only Sound In The World’ on the 5th of November. The single is the first to be shared from her upcoming album Ocean Letters which will be released in September 2022 via Midnight Confessions. The singer is one half of the celebrated duo AyOwA who have received significant international support from the likes of Huffington Post, The Independent, VICE, The Line of Best Fit, CLASH Magazine and Wonderland Magazine as well as airplay from both BBC Radio 1’s Huw Stephens as well as BBC Radio 6’s 6mix with Nemone. Independently, Hannah Schneider has been nominated for several music prizes in Denmark, and has performed all over Europe, the UK and the USA.
https://twitter.com/HannahSchneide
Born and based in Copenhagen, Denmark, Hannah Schneider has previously both lived and toured in the UK. Hannah signed to Sony Music in 2009 and subsequently released two full-length albums - a self-titled debut in and Me vs I. In 2014, her third album Red Lines was released on Mermaid / Sony and UK label Lojinx. Her atmospheric sound has also recently appeared in the international nordic TV series Ride Upon the Storm. Constantly evolving, Schneider makes up part of the performance duo Philip | Schneider with fellow labelmate Josephine Philip.
https://www.instagram.com/hannahschneide/
As a daughter to two classical musicians, Hannah Schneider finds inspiration in a wide variety of artists including Hania Rani, Beach House, Satie, Björk, Hania Rani, Serge Gainsbourg and Debussy. The singer’s unique melancholic nordic sound calls to mind the likes of Olafur Arnalds, Aldous Harding and The Cinematic Orchestra.
https://vm.tiktok.com/ZM8QTMG9Y/
Creating an intimate connection between the neo-classical and the modern, Hannah Schneider holds up a mirror to a melancholic world while gently decorating it with shimmering electronic embellishments and an escapable truth. ‘We Will Be the Only Sound in the World’ finds the balance between sensual and melancholic as the singer’s engaging charisma compliments her ambient Nordic soundscapes.
Speaking of the song, Hannah Schneider tells us: “This is the first single from my forthcoming album "Ocean Letters"- an album that is thematically inspired by Danish poet Siri Ranva Hjelm Jacobsen and her little book of the same name, that talks about the evolution of the world as it is seen by the Ocean. This song is written from the perspective of a conch shell, telling its stories of the grains of sand and the waves that indented it, playing with the fact that seashells actually are a kind of amplifier of ambient noise. The song was written during a lockdown in Denmark this January, and it reflects the feeling of pandemic stillness - the lack of aeroplanes in the sky, and traffic sounds that usually create eternal background noise.”
“We kicking it with those classic piano riffs and good vibes. Hip Hop is a frame of mind, and this track proves that. Classic sounds with a few modern twists. Put the top down and lets cruse this smooth creation. ”
-Nagamag.com
Artist shared with Nagamag few words about his project and this song:
"Hip-hop was the music that I first fell in love with of my own accord when I was seven. By the time I was of an age to start playing in bands though, punk was what I was surrounded by and so that’s what I churned out. For over a decade I played in countless punk and metal bands. However, when my last band broke up, I decided I needed to make music on my own terms without relying too heavily on others. Still needing a musical outlet, I felt magnetized back to what had lit the pilot light of my drive for music two decades prior. There were definitely people who thought even the idea of me rapping was laughable. It got to me a bit but I didn’t let it stop me. Many late nights, churning up nothing but subpar lyrics and flows, I would feel defeated and an imposter. I’d listen to the rappers I loved and admired and feel foolish even trying to make music in the same genre. Several times I told myself I was done. It wasn’t worth all the failure and discouragement. For some reason though I couldn’t quit. I’d always pick it back up and try again. With a handful of years of practice and study I eventually I went from terrible to not half bad. I’m not under any illusion that I can currently compete with the majority of established underground rappers, but what I do know is, is that I keep getting better and making bigger strides. I’m finding more people who dig what I’m doing and want to support it. And I’ve learned that I can handle the continual feeling of defeat in order to pursue the passion that I cannot seem to shuck. I think it takes a small does of delusion to keep at it. I’m okay with that.
https://karras.bandcamp.com/
This song was a particular challenge for the producers who made the various versions. I recorded my vocals to a J Dilla track that fit the mood perfectly. Dilla being well-known for the “drunken drummer” approach, made the tempo difficult for a producer to successfully recreate. I wanted these producers to build an original and unique beat around my already recorded vocals and reverse engineer me a track that not only matched my vocal melodies but also my exact rhythm. I didn’t want them scooting my takes much or having to pitch correct to fit their melodic chord progression. Many talented producers gave it a shot and a few of them came through with some damn great beats. This version by Jack Lim is a whole different take than I would have expected stylistically and I wound up loving it. I think he brought a nice pop bounce to it that I've yet to establish in my catalog."
https://www.instagram.com/father.karras/
https://www.facebook.com/KINGKARRASMATIC/
“Love is a strong feeling that binds the rhythms of two hearts. -Matt Hibbard- perfectly understands what he sings and it worths you start listening. Concentrate on that acoustic guitar melody and the Indie Folk mood. That's all you need in order to plunge into this romantic story.”
“Любовь очень самоотверженное чувство, которое связывает ритмы двух сердец. -Matt Hibbard- прекрасно понимает, о чём поёт и это сразу чувствуется, стоит лишь начать слушать. Мелодия акустической гитары и настроение Indie Folk. Это всё, что нужно для того, чтобы погрузиться в эту романтическую историю.”
-Nagamag.com
https://matthibbard.bandcamp.com/
Matt Hibbard is an American musician, songwriter and mix engineer based in Dallas, Texas. With over 10 years serving the local community as a producer, engineer, vocalist & instrumentalist, he owns a full-service recording studio in Texas. He is best known as a founding member of the indie rock band Relick with his music in placements including Lea Thompson’s ‘The Year of Spectacular Men” & global television adverts featuring the band’s critically successful music.
https://www.instagram.com/matthibs/
“The Hip-Hop rhythms here, are tight and monolithic. You can also notice a rectic and very expressive vocal part. The atmosphere resembles a long melancholy and wander. Very memorable duet that contrasts and make you fall in love after each listening.”
“Ритмы Hip-Hop такие плотные и монолитные, с отчётливым и очень выразительной вокальной рифмовкой. Атмосфера напоминает лёгкую меланхолию и долгие странствия. Очень запоминающийся дуэт, который контрастирует и влюбляет в себя с каждой новой минутой его прослушивания.”
-Nagamag.com
https://www.instagram.com/senordraz/