The Reflex is a London-based French DJ and producer named Nicolas Laugier. He specializes in a particular kind of remix, the re-edit, in which you rework a song using only sounds found within the song itself, ideally using the multitrack stems. Some re-edits keep the original more or less intact, but with a punchier mix and a new breakdown section or whatever. Others (the ones I find more interesting) radically transform their source material by moving pieces around in unexpected ways. Read this Greg Wilson interview to learn more about Laugier’s process.
I really love Laugier’s tracks, on several levels. First, he has a fine ear for mixing, and his edits always have spectacular clarity and depth, often sounding better than the originals. There’s intellectual pleasure, too: it’s fun to hear a fresh take on these deeply familiar recordings, and the music educator in me adores the idea of using music itself as a medium for music criticism. Laugier implicitly critiques the music he edits, saying, “This song is cool, but wouldn’t it be cooler if the drums were more prominent, and we heard this keyboard part in isolation, and there was a longer groove in the intro?” I always prefer music analysis that I can dance to. Continue reading
One of our key design principles at the NYU MusEDLab is not to confront beginners with a blank canvas. We want to introduce people to our tools by giving them specific, real-world music to play around with. That was the motivation behind creating presets for the aQWERTYon, and a similar impulse informs Ableton’s approach to their online music tutorials. The Groove Pizza comes with some preset patterns (specials), but there aren’t direct prompts for creative beatmaking. This post introduces some prototype prompts.
Recently someone posted this performance of the chaconne from Bach’s violin partita in D minor on an eleven-string guitar.
My favorite interpretation by an actual violinist is Viktoria Mullova’s. I appreciate her straightforward approach, without all the romantic schmaltz.
I also enjoy the version from Morimur, and I’m not alone. This is one of the most popular classical albums of all time:
My favorite Bob Dylan song is “It’s Alright Ma (I’m Only Bleeding.)” It’s not the one I listen to the most, and it’s not the one I’ve given the most effort to singing or playing. But it’s the one that sounds the most “Bob Dylan-y,” the one that combines all of his many influences into the most singular whole. A close runner up would be “A Hard Rain’s A-Gonna Fall,” but while that song has remarkable lyrics, it’s melodically pretty conventional. “It’s Alright Ma” is rivetingly strange on every level.
Steven Rings wrote this epic study of the song’s evolution over the past 45 years, and if you’re at all interested in Bob’s music, it’s a must-read. It’s the closest musical analysis of Bob I’ve ever seen. Reading Rings’ paper and doing listening with fresh ears has made me realize that “It’s Alright Ma” is stronger musically than lyrically. This is true of a lot of Bob’s songs, his literary reputation notwithstanding. On the page, he can have a dated Holden Caulfield quality. But when you hear his words sung, or better yet, when you sing them yourself, they’re as fresh as they ever were. Continue reading
If you have even a passing interest in funk, you will want to familiarize yourself with Herbie Hancock’s “Chameleon.” And if you are preoccupied and dedicated to the preservation of the movement of the hips, then the bassline needs to be a cornerstone of your practice.
Since George Michael died, I’ve been enjoying all of his hits, but none of them more than this one. Listening to it now, it’s painfully obvious how much it’s about George Michael’s struggles with his sexual orientation. I wonder whether he was being deliberately coy in the lyrics, or if he just wasn’t yet fully in touch with his identity. Being gay in the eighties must have been a nightmare.
This is the funkiest song that George Michael ever wrote, which is saying something. Was he the funkiest white British guy in history? Quite possibly. Continue reading
One of the high points of my musical career was playing in a cover band in college called Harsh Mouse, and one of the high points of our repertoire was this song.
In a previous post, I used the Groove Pizza to visualize some classic hip-hop beats. But the kids are all about trap beats right now, which work differently from the funk-based boom-bap of my era.
We created the Groove Pizza to make it easier to both see and hear rhythms. The next step is to create learning experiences around it. In this post, I’ll use the Pizza to explain the structure of some quintessential funk and hip-hop beats. You can click each one in the Groove Pizza, where you can customize or alter it as you see fit. I’ve also included Noteflight transcriptions of the beats.
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This simple pattern is the basis of just about all rock and roll: kicks on beats one and three (north and south), and snares on beats two and four (east and west.) It’s boring, but it’s a solid foundation that you can build more musical-sounding grooves on top of.
View in Noteflight
This Billy Squier classic is Number nine on WhoSampled’s list of Top Ten Most Sampled Breakbeats. There are only two embellishments to the backbeat cross: the snare drum hit to the east is anticipated by a kick a sixteenth note (one slice) earlier, and the kick drum to the south is anticipated by a kick an eighth note (two slices) earlier. It isn’t much, but together with some light swing, it’s enough to make for a compelling rhythm. The groove is interestingly close to being symmetrical on the right side of the circle, and there’s an antisymmetry with the kick-free left side. That balance between symmetry and asymmetry is what makes for satisfying music. Continue reading
Hearing the news of Bowie’s death made me go listen to Blackstar, which is excellent, his best work in I don’t know how long. His voice aged exquisitely well. So did his restless sonic adventurism: the man never settled in a style for very long. This particular one suits him.