Used: iPad Mini, Garageband, Amplitube, iRig, Ibanez Mikro, iRig Mic. Music & Lyrics by Kraftwerk Ⓟ
Cover by Alex Agrico
Here’s a multitrack using only the software synth Arturia Jupiter 8V, the recreation of the classic Roland synth. Only the drums and vocals are not Jupiter 8V.
The song is a cover of an old Alphaville song “The Elevator” or “The Nelson Highrise (Sector One: The Elevator). It’s the b-side of “Sounds Like A Melody” from 1984.
A Telex (Belgian band) inspired ditty with electronic synths and drums. With a special virtual guest.
The Belgian synth-pop group Telex was formed in 1978 by Marc Moulin, Dan Lacksman, and Michel Moers, with the intention of “Making something really European, different from rock, without guitar — and the idea was electronic music.”Mixing the aesthetics of disco, punk and experimental electronic music, they released a stripped-down synthesized cover version of “Twist à St. Tropez” by Les Chats Sauvages. They followed up with an ultra-slow cover of “Rock Around the Clock”, a hilariously relaxed and dispassionate version of Plastic Bertrand’s punk song “Ça Plane Pour Moi”, and a perversely mechanical cover of “Dance to the Music”, originally by Sly Stone. Like Kraftwerk, Telex built its music entirely from electronic instruments, and the sounds of the two groups have a certain similarity. However, unlike Kraftwerk’s studied Teutonic irony, Telex favor a more joyously irreverent humor.
The group’s debut album, Looking for Saint Tropez, featured the worldwide hit single “Moskow Diskow,” one of the first-ever electronic dance/pop songs.
In 1980 Telex’s manager asked the group to enter the Eurovision Song Contest. The group entered and were eventually sent to the finals, although it apparently hoped to come in last: “We had hoped to finish last, but Portugal decided otherwise. We got ten points from them and finished on the 19th spot.” (Marc Moulin) The group’s song “Euro-Vision” was a cheerful bleepy song with deliberately banal lyrics about the contest itself. The Eurovision audience seemed unsure how to react to the performance, and after the band stopped playing, there was mostly stunned silence, with scattered polite applause; Michel Moers took a photograph of the bewildered audience. The band walked off amid sounds of muttering. A mark of the confusion caused by the performance was when vote-counting began, and Greece awarded Belgium three points, the announcer thought she had misheard and tried to award the points to the Netherlands.
For its third album, Sex, Telex enlisted the US group Sparks to help write the lyrics. However, the band still refused to play live and preferred to remain anonymous—common practice in the techno music artists the group later inspired but, nevertheless, unusual in 1981. The fourth Telex album, Wonderful World, was barely distributed.
In 1986, Atlantic Records signed Telex and released the album Looney Tunes in 1988. By then, the band’s earlier sound had influenced many other groups, but they had abandoned it in favor of sampling and a more up-tempo humorous style. “Temporary Chicken,” for example, was a strange joke track about a man so desperate for work that he accepted a part-time job in a chicken costume. It was social commentary but so bizarre as to be almost incomprehensible to most listeners: the album found little commercial success.
In 1989, Telex revisited all of their old tracks and remixed them to resemble house music and other genres that had followed in the wake of Telex and others’ early pioneering work in electronic pop. The result was Les Rythmes Automatiques, which apparently inspired Kraftwerk to do the same for its album The Mix in 1991.[dubious – discuss]
After almost two decades of silence, Telex made a comeback in March 2006 with How Do You Dance on EMI Records. It contained five original compositions as well as five covers. The group’s last release, as of 2006, is a cover of “On the Road Again”, originally by Canned Heat. They also began producing remixes for other artists’ single releases, including “A Pain That I’m Used To” by Depeche Mode and “Minimal” by the Pet Shop Boys.
Background video description (Googlish from Japanese):
We are doing synthesizer and longing for Professor Sakamoto.
That there is no “VOCO” from once in a while because it is doing just drum.
Professor says that recalls, but the tone change is busy anyway.
I would easy if you driving in advance a program change,
It does not do it by following the professor at the time.
Amiability Misutatchi is (^ ^ Isuzu
Out on September 20th is the new album from Parralox. On “Recovery” John von Ahlen and Amii cover 14 tracks from the 80s. The album acts as a teaser for the upcoming releases from Parralox in Autumn / Winter 2013. The cover album is strictly limited to 500 copies, and there will be no reissues thereof.
You can pre-order the album here (everyone who orders a copy before August 16 will get named in the CD booklet). An album trailer is available below.
- In The Night (Pet Shop Boys Cover)
- Eye In The Sky (The Alan Parsons Project Cover)
- Headhunter (Front 242 Cover)
- Touched By The Hand Of God (New Order Cover)
- Kebabträume (DAF Cover)
- A Forest (The Cure Cover)
- Somebody (Depeche Mode Cover)
- The Day Before You Came (Abba Cover)
- Blind Vision (Blancmange Cover)
- Physical Attraction (Madonna Cover)
- Silent Morning (Noel Cover)
- A Little Respect (Erasure Cover)
- The Model (Kraftwerk Cover)
- Love Will Tear Us Apart (Joy Division Cover)
This is a keyboard cover of Tron Legacy’s original soundtrack by Daft Punk. Everything was played and recorded with the Moog Little Phatty Stage II.
“The SYNTHWAY address is for my brazilian blog… only in portuguese. :)The first part was a bit difficult to sync with the video, but I guess you can imagine that! I played the thing 2 times in a row while recording the MIDI file (with a little bit of quantize to keep the thing like an arpeggio).The knob tweaking part is showing a nice feature of the Little Phatty, named Pot Map. I’m changing 3 parameters of the filter in realtime… the modulation knob (not seen) is for the EG Amount, oscillator knob for resonance and the filter knob for cutoff.Third part, playing the melody while changing the OSC2 pitch, to get that nice OSC Sync effect. Nothing really special… added a very smooth delay in that lead, from EHX Deluxe Memory Boy.Fourth part, playing the melody in a different way, while using the modulation wheel for controlling filter cutoff, getting that nice wah-wah sound. This part is using the internal LP arpeggio for playing the high-pitched pattern. A little touch of delay in both synth lines.Didn’t record it in video, but the deep bass and drum sounds were made with the LP. Everything was recorded thru Scarlett 2i2 in Logic Pro 9.I hope you enjoy!”
OMD’s old classic gets a remake på Hannah
Perhaps one of the best unknown covers of Kraftwerk’s 1977 classic Europe Endless by Italian maestro Laso67. https://www.youtube.com/user/laso67
Steve Strange parody – Some scenes from Visage’s videos re-en-visage-d, very clever. ”Imitation is the greatest form of flattery” (even when it’s ‘dressed up’) – remade scenes have come from Visage/Fade to Grey …Visage/Visage……any more spotted let me know
Hardrock Striker – Underpass. – john foxx cover
No copyright infringement intended.
It’s not quite like the original, neither is not intentend to be.
Sequenced parts sequenced on Cubase 5 then audio mixdown passed to Roland SP-404
Main sounds played:
Sampled parts: Initial intro part using free samples to recreate an ambience
Brass lead: Yamaha AN1x
Lead: Roland V-Synth V2
Strings: Akai Miniak
Lead vocal + keyboard played part: Shure Mic, Kurzweil PC3 triggering Korg Microkorg vocoder
Enjoy the Silence (Depeche Mode Cover) with Arturia Minibrute, NI Maschine Mikro MK2, Korg Kaoss Pad 3