In the studio with… Maya Shenfeld The electro-acoustic composer plumbed the depths, literally, for her evocative new LP ‘ Under the Sun’. Plus, interviews with Machine Womans; the latest music kit – Waldof Iridium Core, is tested and reviewed and our classic album this month is Speey J, Ginger.
We’ve got Soft Cell on the cover of this month’s Electronic Sound and the focus of our interview with Marc Almond and Dave Ball is ‘Non-Stop Erotic Cabaret’, the group’s glorious 1981 debut album. ‘Non-Stop Erotic Cabaret’ is a record that defiantly set the tone of the early 1980s and it’s just been reissued as an expanded double LP and a six-CD boxset. Both editions are loaded up with tons of fantastic extras. As well as delving deep into the heart of the album, which Almond describes as “mundanity with a technicolour touch – glamour in squalor” in the boxset notes, the pair talk about their art-school beginnings and their ongoing working relationship. It’s a scintillating read and a great way for us to bring this year to an end.
This month’s Electronic Sound cover star is Andrew Weatherall – pictured during the early days of his illustrious career – and we have an exclusive white vinyl seven-inch featuring two magnificently wonky tracks from his Woodleigh Research Facility project to accompany the issue. It’s hard to believe that it is almost four years since Weatherall died, robbing the electronic music world of one of its brightest, sharpest and most unique talents. Next week sees the release of his final recordings in the form of Woodleigh Research Facility’s ‘Phonox Nights’ album and we have spoken to his WRF partner Nina Walsh for our cover story, which is a celebration of Weatherall as an artist, a producer and a remixer. We are also reprinting his first interview with the music press, which he gave to Melody Maker just before the release of Primal Scream’s ‘Screamadelica’ in 1991, a record he masterminded following his pioneering remixes of tracks like ‘Loaded’ and ‘Higher Than The Sun’.
We are celebrating 60 years of ‘Doctor Who’ with the help of The Radiophonic Workshop in the new issue of Electronic Sound. We have a silver vinyl Radiophonic seven-inch to accompany the magazine as well, the material including two Dalek tracks taken from early episodes of the sci-fi TV show. Our cover story boasts an amazing cast of Radiophonic Workshop members, with Brian Hodgson, Dick Mills, Paddy Kingsland, Roger Limb, Peter Howell and Mark Ayres recalling those halcyon days at the BBC’s famous Maida Vale Studios. There are tons of ‘Doctor Who’ anecdotes, of course, but they also talk about some of their other wonderful work for BBC television and radio programmes over the many decades. It’s a lengthy and highly entertaining read and it begins with a mighty strange tale about “two mad scientists and a moon maiden”. They certainly broke the mould when they made the Radiophonic folk.
This November we go deep on an electronic music behemoth. We explore the rich history, technology and techniques behind this ever-important genre, as always with an eye to helping you work your new knowledge into your own projects.
Artificial intelligence is very popular and can now clone voices – be they celebrities or anyone else. So you want Eminem or Drake to rap on your track? No problem. The Weeknd or Pink to sing for you? That‘s also possible. We‘ll show you what else is possible, what‘s legal, what tools will help you write your lyrics, and eight essential mixing & recording chains to get every take right the first time. We‘ve also included a few sources to help you get your hands on some great vocals. Nine gigabytes of downloads are also included to get you started.
Depeche Mode. Yazoo. Erasure. The connection between these three electropop giants is, of course, Vince Clarke, who we are delighted to have on the cover of the latest issue of Electronic Sound. The legendary synthesist has packed an awful lot into the last 40-odd years, but he’s about to step into unknown territory with the release of ‘Songs Of Silence’, his debut solo album. And rather than the synthpop earworms he is best known for, this is something quite different but every bit as special. In fact, these expansive soundscapes are some of the most beautiful tracks Clarke has ever recorded. He discusses the album at length in our in-depth cover story, as well as reflecting on the many high points of his amazing career, going right the way back to his pre-Depeche Mode days in Basildon. It’s a riveting read from start to finish.
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