Moby shared his remix of iamamiwhoami’s y.
Here’s what Moby has to say about it:
i first heard iamamiwhoami at a restaurant in london a few years ago. after hearing them i emailed my manager, eric, and asked ‘have you heard of this band iamamiwhoami?’ and he wrote back, ‘yes, we manage them’.
when they asked me to do a remix for them i happily said ‘yes’, as i’m a fan of theirs. and when i heard the song they wanted me to remix i realized that i didn’t want to deconstruct it and change it, but rather just add melodic and structural elements to it, to enhance what they’d already done.
Historical interviews with the most famous electro musicians in the world have appeared in a new eBook.
The Electro Legend Interviews features interviews conducted over the past 20 years and taken from the archives of Computer Music and Future Music magazine.
Revealing their music-making techniques and inspirations are: Aphex Twin, Gary Numan, The Prodigy’s Liam Howlett, Vince Clarke, Kraftwerk’s Wolfgang Flür, Moby, Hot Chip, Alec Empire and Ultravox’s Midge Ure.
Available for just £2.99, the book sheds light on The Prodigy’s place in the early rave scene, with Liam Howlett explaining in a 1993 interview that”When rave dies there are always going to be people who will still want to dance, so as long as we keep coming out with original songs we’ll still be around…”
Meanwhile, Gary Numan discusses his classic Replicas album. Addressing the cover art, he says: “The character on the cover is called a Machman – he’s looking out on the world, looking out at the park. Outside of the park, there’s a man in a grey coat and a grey hat, which was a ghost I saw when I was much younger…”
Elsewhere reclusive genius Aphex Twin gives one of his only ever interviews. “If you plan to be good at anything, it has to happen using your own ideas. It’s inevitable. It’s exactly like natural selection,” he muses.
Speaking exclusively about the early days of Kraftwerk, WolfgangFlür comments: “We were young, shy and childish! We loved to construct things and we never thought we would get famous from that.”
The book also features Vince Clarke revealing his computer music-making secrets. “Once you’ve got the hang of the computer and the software,” he says, “then you’ve still got to write the songs…”
And discussing the history of Ultravox, Midge Ure reveals that: “In those early days, a lot of musicians saw synths as electronic guitars. We just started going bang-bang-bang. Suddenly, you got this blast of unearthly noise and it changed the musical landscape.”
“At Moogfest 2011, we sat down with iconic electronic musican, Moby, to talk about the power and importance of Bob Moog’s legacy. Moby is part of our work. You can be too. Donate: http://bit.ly/donatebmf.”
Bob Moog’s legacy lives on in the rock stars and panelists at Moogfest 2011. Find out why Bob’s extraordinary legacy deserves to be carried forward.
Featuring: Moby, Wayne Coyne, Diego Stocco, Eric Persing, Bryan Bell, Dick Hyman, Terry Riley, David Borden, Joel Cummins, Alan Vega and Torley.
Dr Benway has published this new video featuring Moby´s classic song on a Casio keyboard. The Casio SK-5 is a sampling keyboard introduced by Casio in 1987. Samples may be gathered from a built-in microphone or a line-level input from another source. The keyboard was rebranded as the Realistic Concertmate-650 for sale at Radio Shack stores.
Moby – Porcelain
2 samples are used: orchestral strings and drum beat.
The sequencer plays the samples in loop.
Moby has released the music video for his latest single, “Lie Down in Darkness,” featuring an old Russian cosmonaut looking back on his time in outer space, in an exclusive Wired premiere. The music video, directed by Luke Seomore and Joseph Bull (Institute for Eyes) was shot in London last month.
“We really liked the idea of an old astronaut in a modern city contrasted with the astronaut in his youth travelling to space,” he added.
The team worked hard to research the video, drawing inspiration from Yuri Gagarin biography Starman. They were particularly interested in the partners of cosmonauts and astronauts. “They have an interesting dichotomy: On one hand they are really proud that their other half is going into space, but there is also this great fear,” said Seomore. “This idea is explored within the music video. Similarly the astronauts have a great sense of pride but at the same time isolation, because so few people have had the same experience.”
Seomore and Bull went to great pains to find an actor with a strong enough face. “There were loads of actors who looked like dads out of butter adverts,” said Seomore. “Keith [Chanter] walked in and he felt like someone important. The funny thing is that he was actually very posh English. He’d be in the car talking in long monologues saying things like [in a plummy English voice], ‘It’s a funny old game, acting.’”
The team shot the video around London over two days in locations including South Bank and a swimming pool in Walthamstow that opened in 1968 and has all of the original fittings, giving it “a Soviet feel.”
They managed to source a real space helmet, which had to be modified to ensure that it no longer formed a vacuum around the wearer’s head. Without the air supply that would be used in space, it would otherwise have had a suffocating effect on the actor. They also sourced primitive ’60s computers and shot using uncoated lenses to give it a retro feel.
The edit was simple, but the post-production was relatively complicated because the team was keen to replicate the effects of ’60s space footage. “We wanted it to look like the footage from the original space flights where they had primitive video cameras that distorted the image to look like really grainy CCTV,” said Seomore.
Moby took a hands-on role when it came to post-production, offering quite a bit of feedback to the directing duo. “We were pretty harmonious most of the time,” said Seomore, “although he was keen to emphasize the contrast of how the ‘old’ footage was graded versus the ‘modern’ footage, whereas we wanted to keep it a bit ambiguous.”
British Journal of Photography’s news and online editor Olivier Laurent speaks to Moby about his first photography book – Destroyed, which will be released with his new album.
For more information and a sneak peek at Destroyed, visit bjp-online.com/2044924.
Interview filmed using the Canon EOS 5D Mark II, courtesy of Canon UK.
Official video for the first single to be taken from Moby’s forthcoming album (and photo book) ‘Destroyed’. The video features Heather Graham alongside Moby and was directed by Evan Bernard and eyeball.
Video Director: Evan Bernard and eyeball: http://www.eyeballnyc.com
Video Producer: Kerri Kleiner
Production Company: Hello And Company
Rick Moody: So when you say you obsessively collect drum machines, just how obsessively do you mean?
Moby: There are seven billion people on the planet, and I realize I will never ever be the best at anything. But I can potentially have the world’s largest collection of drum machines. So when I say obsessively, it’s obsession with a purpose. Ultimately, I want to have one of every drum machine made up until 1982. After 1982, they became more digital, and I sort of lose interest. But the old analog ones, I have always loved them.
Moody: What would the last one be, in 1982, the Roland 808?
Moby: The end point would be the very early digital drum machines, like the Linn Drum. So I collect the early digital ones like the DMX, which is an early hip-hop drum machine, and the 808 and the 909, but then, after that, the digital drum machines started to get a little too fancy, and a little too slick.
Moody: So when you collect all these things is it with the intention of actually using them in your own work or is this a collection just for the sake of a collection?
Moby: I love to use them in my own music. The great thing about a drum machine is that you just kind of turn it on, and it does quite a lot of the work for you. But the old drum machines were never that good. The drum machines post-1982, 1983, actually sort of tried to sound like drummers. But what I liked about the old drum machines is that they never sounded like a drummer, they sounded like a drum machine.
In the sixties and seventies, drum machines were just compared to other drum machines, they weren’t compared to real drummers. And they were never supposed to replace a real drummer. And then, in the eighties, with digital technology they could actually have drum programs that in a crummy sort of way tried to sound like a real drummer. That’s when I lost interest. I liked them when they sounded more synthetic and electronic. Also, nowadays, a lot of electronic music is produced exclusively on the computer, so there’s no physical sound production. So no one makes drum machines anymore.
I’m almost a custodian of these old drum machines that have been in church basements and lounges at Marriott hotels, somewhere in New Jersey. And a lot of them have notes written on them, like this one, I don’t know if it works or not, but someone at some point put masking tape on it, with a little note to himself. This one, down here, see, someone again, someone wrote their own little codes in pencil. Samba, here, they put a red X there, and wrote a note that says, “No.” Clearly, whoever it was hated the samba?
Paul Kalkbrenner’s 2-year old remix of Moby’s “Wait for me” has been named ‘best electronica track’ at the 4th annual Beatport Music Awards which was held last night in Miami (USA). For those who have been living on Mars during the past few years, Beatport is an online music store specializing in electronic dance music and based in Denver, Colorado (USA).
To get an idea what kind of electronic music the download portal offers, check out the other winners and their respective category:
* Top Track Of The Year: Tarantula – Pleasurekraft
* Top Breaks Track: M.A.D. (Elite Force Mix) – Stanton Warriors, JELO, Vandal & Hatiras
* Top Chill Out Track: You Wish – Nightmares on Wax
* Top Deep House Track: The Voice – Thyladomid
* Top Drum & Bass Track: Incoming… (Taku Remix) – Ajapai
* Top Dubstep Track: Scary Monsters and Nice Sprites – Skrillex
* Top Electro House Track: Animal Rights – Wolfgang Gartner & Deadmau5
* Top Electronica Track: Wait for Me (Paul Kalkbrenner Remix) – Moby
* Top Hard Dance Track: We No Speak Americano (Friday Night Posse Remix) – Yolanda Be Cool & DCUP
* Top Hardcore/Hard Techno Track: Magnet – Industrialyzer & The Advent
* Top House Track: We No Speak Americano – Yolanda Be Cool & DCUP
* Top Indie Dance/Nu Disco Track: Hello (Club Edit) – Martin Solveig feat. Dragonette
* Top Minimal Track: Under Control – Roberto Procaccini
* Top Progressive House Track: One – Swedish House Mafia (Sebastian Ingrosso, Axwell, Steve Angello)
* Top Psy Trance Track: Leave Me Alone – Neelix
* Top Tech House Track: Tarantula – Pleasurekraft
* Top Techno Track: The Secret – Joris Voorn
* Top Trance Track: Remember Love – DJ’s United (Paul Oakenfold, Paul van Dyk, Armin Van Buuren)
Note that ‘Artist of the Year’ was Deadmau5.