1. Massive Attack- Heligoland LP (#1 because after last night its my new late night friend)

2. Surfer Blood-Astro Coast LP (after seeing them on KEXP.org, I want to hear more. see you guys live!)

3. Flying Lotus-July Heat Mix & Los Angeles LP (fantastic set at Gossip last night. Olympic 2010 Vancouver fever, baby)

4. The Holy Ghost- The Deep End (Day School Dub) remix of Curses! & Nancy Wang track. (I just can’t get enough of Holy Ghost right now. give me more)

5. John Foxx-Metamatics

via Magnetic Fields May Explore Brave Newer World Of Synthesizers | CHARTattack.

I recently purchased a limited edition Metamatics on CD to replace the vinyl that had gone missing over the years.  A week ago I was blasting it in my project studio when my son came in to have a listen.  Without prompting it has become the most played album in our home and car.  He has claimed it as his own and now says I want to hear CD1 or CD2(bonus tracks).  Naturally, as with most 5 year old boys play it again, again, and again is par for the course.  To most people this would seem a problem since we live in a world where access to hundreds/thousands of tracks is possible via iPods and other Mp3 devices.  Nonetheless, with every listen I am reminded why he was influential to artist like Gary Numan. I’m also reminded over and over again about what a great influence he was and is to me still.   I have had other influences and still do, but John Foxx is at the top of the stack

His minimalist approach is not only evident in the music but also the gear he used.  He reportedly only used 8 tracks for the tracks.  The primary synthesizer was an ARP Odyssey, Roland CR-78, Elka String Synthesizer, MXR doubler/flanger, Roland Space Echo 301, and a Minimoog occasionally.

The synth work on this album is impeccable and the string sounds he achieved are to me, legendary. If you get some time listen to this album, do so. The futuristic and Ballardian aspects have never been more apparent to me than here.

The engineer is Gareth Jones of Depeche Mode and Daniel Miller fame.  Brilliant!

Billy Currie (Ultravox) claimed that they didn’t get along because John Foxx was too artsy.  I bet today he cannot deny how important Metamatics has become and how well it has stood the test of time.

He is currently in the studio working with Benge (the great synth collector and artist)  I look forward to that.

1974 Mini Korg 700s

My wife purchased this synth for me today. Or rather, she let me purchase it!

I’ll post a review soon, but my initial thoughts are that this synth is worth every penny. 2 oscillators with some great flexibility. All I keep thinking about is about The Human Leagues-Travelogue & Reproduction. However, more than anything the sound of The Normal’s-Warm Leatherette. Daniel Miller, you have influenced me more than anyone! I can’t wait to make some choonz with this bad boy.

Akai APC20

Looks like Akai realized that the Novation Launchpad has had an impact on the Live controller front. So, allow me to introduce you to the new Akai APC20. I’m loving the Novation Launchpad though.

Akai Professional worked in partnership with software developer Ableton to create the APC20, the second control surface created by Akai Professional for performance with Ableton Live software. Like the APC40, adding the APC20 transforms the user’s experience from one of constructing tracks with a keyboard and mouse to composing and performing with a seamless, fully integrated hardware/software musical system.

The APC20 retains many of the APC40′s most popular features and capabilities, while shrinking the physical footprint and adding interesting new capabilities. The smaller size enables musicians to perform in less space and makes setting up multiple controllers and devices easier. Power users can use the APC20 in conjunction with an APC40 to expand their track and clip controls.

Like the APC40, the APC20 centers on its five-by-eight Clip Launch grid. This bank of multicolor triggers not only start and stop clips playing in Live, they also show cells’ status in the software – whether a clip is loaded or not, whether it is playing or not, record-armed status and more. Clip Stop triggers, transport controls and faders round out the control surface. Users can switch the APC20′s faders between volume control, pan, sends and three different user-mapped modes. A new Note Mode enables musicians to use the Clip Launch buttons to control virtual instruments and Ableton Live’s Drum Rack.

Because Akai Professional and Ableton designed the APC20 for use with Ableton Live software, the system is truly plug and play, although advanced Live users will appreciate that the APC20 enables them to remap every one of its controls to suit their own style.

The APC20 will be available from pro audio and musical instrument retailers in January 2010. It has a U.S. Retail Price of $299.00 and an estimated street price of $199.00

Find out more about it here…

Thom Yorke, you never fail to impress me. This was the first time I heard this track-today. I hope you will enjoy it too.

Thank you.