SBC music review: Covenant – Leaving Babylon
Sweden’s most notable electro act Covenant are back with a new album – Leaving Babylon. After the release of their previous album we saw the multi artist Daniel Myer leave the band to explore new adventures, something that has definitely changed the sound of the new album. With new fresh blood behind the machines and still with Eskil and Joakim as the main engineers in the control room, we are sure to recognize the pulsating beats that has become their trademark, but also pulling the space ship into new realms of their electronic universe.
Do we like it – sure, not doubt about that, although one might lack those obvious dance floor hits that we have become accustomed to from this highly energetic band on stage and in the studio. The tracks are, as always, impeccable when it comes to the production and the deep voice of Eskil blends nicely with the pulsating synths and ambient soundscapes that filter through most of the tracks. In the absence of dance floor fillers, although I am certain we will not have to wait long before the Covenant tribe releases up beat versions of many of these tracks, we receive the full spectrum of nicely tweaked synth pearls, vocoder voices and, not overly surprising, a fresh scent of noise inspired tunes. The noise ingredient is likely triggered by Eskil’s on-the-side project Cement, where he goes basurk with his machines – creating a mash up of sounds that would easily flavour any futuristic adventure on the big screen.
It strikes us again and again when listening to Leaving Babylon that this is a record with other ambitions than the previous albums – more experimental and more leaning towards something that can trigger uncharted demographics in the ever growing electronica scene. One can even find traces of the old synth maestro Jean Michel Jarre in there (Ignorance and Bliss), for good or bad – not sure, but it fits nicely with my visions of a band who has done it all and wants to explore new turfs, while at the same time stay true to its past. Speaking of the past Covenant also makes a flirt with JS Bach adding cembalo sounding tunes that infiltrates the cool sounding Thy Kingdom Come.
Striking the right balance between electro pop, ambient music, and hard core dance floor beats has always been at the heart of this band and it will be very interesting to see if the band who has now clearly opened the doors to new domains will continue to push the envelope going forward. It may not suit everyone, but it will definitely be a treat for those who are open to alternative electronic music.
From the label:
The forerunning single “Last Dance” has not budged from the top position of the German Alternative Charts when Covenant announces the new album Leaving Babylon released on September 6th 2013.
Built around a structure of majestic synths, quirky noises, unexpected harmonies, scary singing machines and fog horns, massive beats and Eskil’s signature vocals, the singles dark and atmospheric vibe sets the tone for the overall feel of the album. Balancing a return to their early EBM roots with their modern electronic soundscapes, Covenant digs deep into their history and incorporates threads from each of their early releases and weaves it into Leaving Babylon.
“The stars shines so bright when it’s dark” says Eskil Simonsson, the bands singer and front man, about the feel of the new album and the troubled world in which we find ourselves.
The album is available as a limited version of 5000 copies. Included with the eight-panel glossy digipak are an extra booklet and an exclusive bonus CD featuring Swedish poetess Helena Österlund.
Ghost Box featuring Foxx Mr. Electronics
John Foxx has another new EP out this time in collaboration with the Ghost Box people.
The Belbury Circle is Jim Jupp of Belbury Poly and Jon Brooks of the Advisory Circle, and for this debut collaborative EP on Ghost Box they are joined by stalwart of British Electronica, John Foxx. Released on 6th September on 10” vinyl, CD and download, the EP features four songs, an instrumental and a remix of the title track Empty Avenues by Pye Corner Audio.
The music of The Belbury Circle occupies the overlapping territories of Belbury Poly and The Advisory Circle. Foxx’s songs are perfectly framed by haunting pastoral electronics. Like all Ghost Box records, it comes in Julian House’s elegant and luxurious packaging, with variant covers for the CD and 10” vinyl versions. The 10” also comes with free download codes.
Yamaha RX21L Drum Machine
Well the reviewer ain’t to happy 😉
Craptastic Yamaha drum machine from 1985 featuring Latin sounds. Boring as hell. Get a Roland TR727 instead!
A quick play of the sounds and several patterns.
Quick demonstration of a pair of mid 80’s drum machines. Demo starts out with dry, direct signals from the machines and then I add a little reverb from Alesis MultiMix 8 at the very end. These machines are popular with circuit benders.
Minimoog, Memorymoog, LinnDrum 1 & 2
A live “dreamy” improvisation on Minimoog, Memorymoog, and LinnDrum.
Minimoog: synth bass
Memorymoog: synth
LinnDrum: drum machine
“Another, more “hypnotic” and laidback live jam on Minimoog, Memorymoog and Linndrum. My silly camera decided to stop recording the video after 10 seconds, so I placed a photo of the gear. Listen to this one in low lights ;-)”
MFB Tanzbär SHORT TUTORIAL
Nice overview of a very powerful drum machine from MFB, details below:
Due to a high demand: I uploaded a basic tutorial how to use the MFB Dancing Bear. I hope this tutorial is self explaining. I just added a few comments via YouTube. This demo gives also the opportunity to hear all sounds isolated from each other. Could not cover all functions in this short video, please look at the manual for more info: http://www.mfberlin.de/Manual/Manual_…
The Tanzbär is used in the Jam mode. I prefer this mode over the manual- and step mode. Please look at my other videos to see how the CV control is working.
If you like it, don’t forget to rate the video and to subscribe to my channel 😉
Video review of the drum synth Kraftpad
This is definitely one of my favorite iPad apps right now, check out the video below to find out why, but I guess a hint would the choice of presets 
“Kraftpad is a Drum Pad. I really love it because you can edit the 6 available Pads. Shape the sound of each instrument, or change it.21 kits are available. All, as the name of this App implies, dedicated to Electronic Music. You also have a reverb, and you’ll be able to record and loop your Performances. No sharing features are available, and no Midi either. A Super + Drum Pad. I think that it could easily become a Killer One with AudioCopy / Paste and the Midi…”
Metasonix R-System 1 Voice Demo
This is a demo of the Metasonix R-51 (Distortion/VCA), R-53 (Pulser/Ringmod) and R-55 (Thyratron VCO) synthesizer modules, which all use tubes. There are two R-51s, one R-53 and two R-55s being used in this patch.
The R-System is being controlled and processed by a Meng Qi Music ‘Cocoquantus’ looping delay/sampler + ribbon and antenna controller. The output of the Cocoquantus is being processed by a Knas Ekdahl Moisturizer spring reverb. And the Moisturizer’s output is being processed by a Wavemakers 255R dual phase shifter (which is switched on and off throughout the video, so that you can hear how the Metasonix modules sound by themselves without the phaser effect added).
Korg Volca Series – London launch party
We got to see a live demo and play with Korg’s new amazing series of analogue synths – the Volca, including the Volca keys, bass and beats range.
1972 Moog MINIMOOG model D explanation, early years progressive music
A little demonstration of the early RA Moog Minimoog from 1972, the italian group PREMIATA FORNERIA MARCONI. You can see plexy wheels, squared bottom case and fat sound of the old oscillator board
Playing the V-Synth GT
Released in 2003, the V-Synth was a new flagship synthesizer from Roland debuting some of their coolest features of the time, allowing for a new world of sounds full of life and motion. The V-Synth combines multiple oscillator technologies, user sampling and new COSM filtering for incredibly dynamic new sounds. The user has realtime control of a waveform’s pitch, time and formant plus a killer arpeggiator and a host of realtime controllers including the revolutionary TimeTrip Pad and twin D-Beam controllers. All this leads to sounds that can move, morph, evolve and sound totally unique.
The V-Synth has dual oscillators that offer a choice of three different synthesis methods: analog modeling, PCM waveforms with user sampling, and external audio input processing–all with up to 24-voice polyphony. The PCM oscillator is powered by VariPhrase for complete sonic control. Choose from over 300 preset waveforms or sample your own. Then use the “TimeTrip” function to manipulate a waveform’s time aspect in any way you wish. Slow it down to uncover rich moving harmonic content; speed it up to create high-speed tonal motion; freeze it at your favorite spot; or rewind it backward at any speed without changing pitch and formant, which can also be independently controlled. The Analog modeling offers several fat-sounding analog style waveforms. The third oscillator type is External Audio Processing, which lets you process any signal arriving at the V-Synth’s analog inputs. All three oscillator types can be layered and mixed in several ways, or modulated using FM, ring mod and oscillator hard sync.
All programming is achieved via the large LCD Touch Screen plus a bunch of hands-on controls and knobs including the new TimeTrip Pad, twin D Beams and the velocity/aftertouch sensitive 61-note keyboard. While you can independently manipulate the pitch, time and formant of sampled waveforms using VariPhrase technology there is also powerful COSM processing offering analog-style filter modeling, a resonator and Side Band Filter, plus global reverb, chorus and multi-effects. The V-Synth’s programmable arpeggiator can modulate sound parameters to provides additional rhythmic and timbral controls.
The V-Synth is fully suited to the modern day studio as well, with analog I/O and MIDI ports supplemented by USB and digital S/PDIF I/O ports. Use the analog or digital inputs to sample your own waveforms to be used in the variable oscillator. You can even exchange .WAV and AIFF files via the built-in USB port, which also works for MIDI. Resampling is also possible, allowing users to capture any performance with the TimeTrip Pad, D Beam or arpeggiator – or even effected sounds – as an entirely new waveform. All Preset Patches are fully re-writeable, giving users plenty of space for their own creations, which can also be saved via USB to a computer or to an optional PC card. With PC card adapters, other media such as CompactFlash, SmartMedia and MicroDrives can also be used.
Additionally, with V-LINK Onboard Video Control users are allowed playback and performance of video clips with music created on the V-Synth via the Roland DV-7PR Digital Video Workstation (sold separately). Use V-LINK to trigger different video clips with V-Synth’s keyboard while using the bender to change playback speed. Using the TimeTrip Pad, you can scan a clip forwards or backwards with your finger, or change colors using the Twin D Beams. A totally unique feature perfectly suited for live use.
The V-Synth GT was later released in 2007 which adds Roland’s Vocal Designer technology with revolutionary Articulative Phrase Synthesis technology. Articulative Phrase synthesis recreates the ever-changing behavior, nuance and sound of an instrument as it’s being played. The results are stunningly expressive and realistic, and can be applied to acoustic instrument simulation as well as new, never-before-heard sounds. In a nutshell, it lets acoustic instrument sounds such as a violin sound like it’s being played with a bow rather than keys on a keyboard. New front panel features include a color touch-screen with eight universal control knobs, and the addition of dedicated buttons and sliders to make access faster and easier. The GT could also has a maximum 28 voices of polyphony.
DATAMASKIN
