Free to download : Donations greatly appreciated!
Visit http://kilowattsmusic.com/six for more info...
James Watts is the mind behind KiloWatts and his many different projects and styles. His work embraces the bulk of electronic genres, including breaks, IDM, techno, and downtempo. His fluency in piano is evident throughout his work, as is his penchant for jazzy riffs, intelligent structure, wistful melodies, and an often cheeky take on the current state and history of electronic music as a whole. His album “Ground State” is out on Native State Records, home to fellow pioneers Bluetech and Shen. It’s a collection of sweaty psychedelic downtempo grooves, churning molasses-thick basslines, and undulating synthetic sonorous mandalas. KiloWatts has albums on Artificial Music Machine that are full of visionary dimensions, fusing together a dexterous knowledge of sound synthesis, deep emotional articulation, and solid melodic intuition. Peppered throughout are releases with quality labels such as Harmonious Discord, Thoughtless Music, and his own outlet, KiloWatts Music, that celebrate his adept technical expertise, often bringing a whirlwind of digital wizardry in the form of glitches and edits. Furthermore, KiloWatts is signed as a Psymbolic--sounds artist of which the explorative A/V art piece entitled "microtakeover" can be viewed.. plus many of KiloWatts albums can be found via the Psymbolic sound shop. He began making music in the early 90s with DOS-based trackers and releasing them on BBSs through the demoscene. He was a driving force in the foundation of Soulseek Records, a netlabel celebrating independent musicians during a time of heavy backlash from the record industry against filesharing. The label helped show that independent electronic musicians can use filesharing to their advantage by promoting and collaborating with eachother. The label was born among a flurry of netlabels, many which still exist today. An ever-growing list of projects and collaborations exists. Skeetaz, with breakbeat cohort Bil Bless brings hard-hitting digital glitched-out psychedelic funk. His collaboration with singer Peter Van Ewijk is a mystical ride with vocals and guitar, nested atop edgy electronica. With Tanner Ross, an eerie style of dark techno is born under the name Voodeux for Dirtybird’s techno sublabel Mothership. Fellow Philadelphian MC Amagine delivers consciousness-driven motifs in their digital glitch-hop project called Super Galactic Expansive.
Free to download : Donations greatly appreciated!
Visit http://kilowattsmusic.com/six for more info...
Here's the Somnia label showcase mix from Fluid Radio last week. This mix includes tracks from every Somnia release, including two from my upcoming release. Enjoy!
01) Evan Bartholomew - Secret Entries Into Darkness
02) Emanuele Errante - Fecunda
03) Motionfield - Horizon
04) Evan Bartholomew - Leaving Behind Our Memories
05) KiloWatts - Rode Falls
06) Bluetech - A Delicate Mystery (New Life Mix)
07) Motionfield - Childhood Playground
08) Emanuele Errante - Primo Tema
09) Evan Marc + Steve Hillage - Resurface
10) Juxta Phona & offthesky - Dark Matters
11) P.Laoss - D.I.V.E.
12) Juxta Phona & offthesky - Trust & Roullette
13) Evan Bartholomew - Descending Deeper In Search of The Timeless
14) KiloWatts - The Moment Just Before Dawn
I recently did an interview with Open Labs about the art of making electronic music remotely.
As technology continues to make strides, more and more artists are finding themselves left alone in their studios; while endless piles of gadgets replace people, and become an artist's sole source of inspiration. Where there were once groups of artists discussing the levels on the bass line, there are now lonely sound engineers, pushing buttons and sliding faders. But it doesn't have to be so solitary. Working remotely, while not a new phenomenon, is becoming progressively easier and producing better quality music. Although the set-up isn't always ideal, it creates the opportunity for musicians to work together—with people, equipment, time and even talent they may not otherwise have access to.
To further the idea of a collective aloneness, Jamie Watts, who appropriately goes by the DJ name KiloWatts, points out an intensely interactive and collective piece of music. “Perhaps the most extreme example of musicians working remotely would be the Soulseek One Second Massacre, aptly titled, 'Sloppy Seconds,'” says Jamie. This musical collage is a collection of one-second sound bytes, each created by a lone artist, tacked on to the existing project, and forwarded to more than 500 artists over two years. The result is a 9-minute sonic patchwork. As Jamie describes it, “The result sounds something like a bunch of monkeys pushing buttons, but it's interesting how certain segments develop, especially in the segments where the rhythm is done at 120 bpm, which fills one second evenly.”
Jamie, who was a part of the “Sloppy Seconds” project, met his recording partner, Peter Van Ewijk, just once, and long after initiating their own remote recording process. The US-Germany relationship started via the file-sharing program Soulseek. Jamie says, “He sent me some guitar and vocal ideas he was working on, and I added my production to the mix.” It seemed like an easy enough orchestration between the two familiar studios but when they got together for the first time in person, at the Lab30 festival in Augsburg, Germany, the duo only had two days to practice a live set they'd spent a year building, seemingly effortlessly.
Four years later, Jamie and Peter got together for a second album. Jamie says, “The second album was more involved, so there was a lot more creativity going back and forth for each track: re-recording things, adding things, changing things. Doing the two albums like this was fun, but if we decide to do another one, I would want to create it in person together.” Headed in different musical directions, the second album was harder to control. “Because of the limitations of being in different places ... it's almost like the process is a 3rd collaborator. Ideas can change drastically during the time it takes for a project to transfer, or when the other guy gets around to working on it.” This can be good in situations where it allows the project to grow into something new, but it can also be frustrating because it is impossible to be in the same room, bouncing ideas off each other.
Providing a valuable insight, Jamie adds, “Working remotely helps with scheduling differences, as each person can get to the song at their convenience. But the result sometimes can sound double-sided, as each person is solely in their own head during the creation process. With uploading and downloading time, it usually takes a lot longer to complete a track. I've found that when working in the same studio together, we can ... pull immediate inspiration from what we're both feeling in the moment.”
There are options, though, for a sort of “live remote” session, which is exactly what Jamie concluded is one of the best alternatives. “I'd love to see something that is real-time interactive,” Jamie says. “If you can imagine it ... software that allows for two users to interact with the same song file through TCPIP, and chat at the same time. You could be tweaking a synth while your partner's arranging a sequence.” More than the future of remote work, it's the present.
Nick O'Toole, who's used remote recording techniques to capture the sound of the Prague Orchestra, explained the intricate process of producing the sound monsoon in real time from his Southern California location. “We used my NeKo to run Protools and another source connect plugin to monitor the session. The tracks were actually being recorded in Prague. It works by having the plugin, which is RTAS/VST/AU capable, and has to be running on both ends. The plugins connect and you can send audio back and forth in real time.” This is an impressive process because it compensates for latency and carries a MIDI time code signal, so the two systems can be in sync for recording. “It's all done via IP and the Internet,” Nick says. “This plugin enables you to monitor and produce what is being recorded on the other end in real time.”
Nick continued, “[We were] streaming at MP3 compression in real time and set up a Mackie big knob for the feed so the talk back button would send our voice to ... the control room. We hear it as it happens, then make comments, ask for more horns etc.”
Live remote recording, or producing as in this case, is an awesome technological feat and alleviates a lot of the problems that musicians encounter when recording remotely, or live for that matter. Nick emphasizes this last point, saying, “The best part is you never have to get dressed.”
Between scheduling, living across the country, or not wanting to get dressed, remote recording has solved a lot of problems. For those who prefer the solitude of their audio lairs, remote recording is being social. At the same time, it's not for everyone. Just as Myspace is fun for a while, it's not face-to-face human interaction. And, as Jamie says, “At its worst, working remotely can turn you into a head case from lack of human interaction.”
Article by Tatiana Ryckman, Open Labs Staff Writer
Title: Bones EP
Presales: December 10th 2009
Release date: February 14th 2009
Like the alien skull that adorns its cover, Voodeux’s Bones EP is certainly from another place and time. Picking up where their 2007 The Curse EP left off, sonic madmen Tanner Ross and Kilowatts have refined and sharpened their signature sound into 1,000 needlepoints, bound directly for the back of your neck. This is techno for a horror movie set in deep space. Reach for Bones if you have a crowd peaking and you want to rip their heads off. Burly slabs of bass rain down like Easter Island statues, while relentless crystalline atmospherics splinter endlessly towards the horizon. Skeleton Key is no less ominous, broadcasting its spidery main theme over an ever-evolving, increasingly paranoid chord sequence. Once the kick drops back in, the chords frost over with a layer of ice, smashing through the frame with all the subtlety of a yeti attack.
It's the dawn of a new era – not only is there a new President in the White House, but Beatport has also launched their freshly retooled interface: version 4.0! The fully remastered digital download site features over 50 enhancements that include some of the most popular user-requested features. To celebrate this confluence of historic events, Thoughtless Music presents...
Love On Saturn
Philadelphia's James Watts is back in action: following his releases as one half of Mothership's Voodeux, he continues to develop his distinctive Thoughtless sound with playful grooves, twisted melodic structures and plenty of spacey effects. Defining a new hybrid of techno and house all his own - with influences ranging from intergalactic jazz to visionary funk - this collection might just be enough to make you fall in love, regardless of the planet you're on...
01. Love On Saturn
02. Polar Orbit
03. Hyperion Hustle
04. Hyperion Hustle (In Retrograde)
"Amazing release as always from KiloWatts. I seriously don't know which track is best for me - the whole thing is fookin retarded. I do know I'll give each track a try. Great job, Thoughtless!" - Maetrik (Treibstoff, Mothership)
"Thanks for such amazing music - the Love On Saturn EP is beautiful and full of funk. KiloWatts is defenitely taking house, funk, techno and other styles into new places - we will be playing this EP constantly for a long time, that's for sure!" - Signal Deluxe (Eintakt, Brouquade)
"All pretty solid freshness here - quirky goodness galore! 'Hyperion Hustle (In Retrograde)' is my sorta jack-joint. Fantastic, jackin'-IDM! I'll be playing this for sure - it's gotta turn heads big time." - Deepchild (Future Classic)
"Quite like this release. Fresh & slightly twisted, boppy tunes. My fave is 'Hyperion Hustle (In Retrograde)'." - Tyler Stadius (Fabric)
"Nice EP. Great sound design and attention to detail." - Alland Byallo (Nightlight, Liebe Detail)
"What I love most about KiloWatts is his continuous inventive progression and attention to sound design. All four tracks on this release showcase that talent to move and warp sounds while silky funking bass drives the dancefloor." - Limacon (Pokerflat, Resopal)
"'Hyperion Hustle' is great - definitely going to play this one." - James Teej (Rekids)
"This EP is awesome! Every track is superb. Right up my alley. Definitely be playing this out." - Andrew Duke (Cognition Audioworks)
"Solid EP. Really feeling 'Polar Orbit'. Beautifully deep with rich, sublime synths." - Jamie Kidd (Metalogic)
"This EP is excellent - as usual, KiloWatts steps up to the plate with flawless programming and superior musical construction." - Ben Goodwin (Archipel)
Take a listen and buy it now exclusively on the brand new Beatport
“In the early morning am hours in Dallas Tx 1996, there was a mysterious and historic road tucked away from the bustling city chaos. It was in this place that the earliest house and techno sounds were heard by area residents and the eerie, hypnotic vibe of the surroundings created the illusion of stepping into another world. Among those to experience these nights of insanity was a young James Watts. Nearly 12 years later he has captured the essence of this legendary place in a spaced out Techno trembler. Luna Rd. uses floating vibes to travel the listener to the outer reaches while increasing energy propels the rhythm into an intense workout. To further drive this project to abstraction, we invited HD label artist Molecule to bring his digitally de-constructive vision to the EP. The RTFM Mix is packed with creepy spacial abnormalities and sharp glitchy noises. His Wrong Turn Mix starts right into a wave of chaos as synths, drones, and tones collide to create pure dance-floor insanity. As a special Beatport exclusive, we have included another jamming tune by Mr. Watts called “The Grog”. The Grog jacks with subversive synth syncopation and killer bass swells till halfway through when the bass explodes into a myriad of rocking riffs with crunchy filters and Star Wars esque mechanic noises."
Harmonious Discord 013 KiloWatts- Luna Rd.
November 13th 2008
A1. Luna Rd.
A2. The Grog
B1. Luna Rd. (Molecule’s RTFM Mix)
B2. Luna Rd. (Molecule’s Wrong Turn Mix)
Available exclusively at http://www.beatport.com/labels/harmonious_discord
In the last 5 years KiloWatts has been a strong presence in the music scene with a diverse catalog of innovative releases ranging from rock-electronica, down-tempo, breaks, as well as house and techno. He has been featured on prestigious labels such as Om, DirtyBird, Native State, and Holophonic; and rocked events world-wide. With 4 full length albums and a huge collection of ep’s and remixes KiloWatts has crafted his own unique sound that is translating to dance-floors and expert ears alike.
Bending rules by bending sound, Molecule’s diverse work is directly related to his deep understanding and training on multiple instruments in various forms of music. Also a professional Sound Designer, Molecule’s releases push sonic boundaries and carve new paths into the trails electro, techno, and electronic music. His live dj sets and live pa performances focus on bringing new and interesting collections of frequency to the dance floor for a new generation.
“Another stunning release for both HD and Kilowatts! I love the originals the most, especially the title cut. I’ll be playing both this weekend and then some. Heat!!!”
-Alland Byallo | Nightlight Music, [KONTROL], Utensil Recordings
“Nice electronic stuff!”
-Patrick Turner | Bluem, Movim
“This is the best stuff anyone has sent me in awhile”
-Dave Pezzner | Classic, Freerange
Following an impressive string of outings on Poker Flat, Resopal and Auralism, California's Limaçon provides Thoughtless with three lucid tech-house jams designed for bass-propelled transportation. Featuring analog hardware and plenty of syncopation, the production on all three cuts speaks for itself – making a convincing argument for the future of machine funk. Hot off his Trentemoller remix for Tic Tac Toe, Rekids' James Teej shows us why he's poised to be Toronto's next big thing with a chugging yet evocative remix of 'The Ride'. In turn, Voodeux's KiloWatts drops a searing interpretation with burning keys and winding synth lines weaving into a prolonged tech-house crescendo. Fasten your seatbelt – with Limaçon at the wheel, we're in for a thoughtless ride...
02. The Ride
03. The Ride – James Teej Cruise Control Remix
04. The Ride – KiloWatts Night Train Remix
WHATPEOPLEPLAY EXCLUSIVE | OCT 2
(with WPP Exclusive Clint Stewart DJ Tool)
BEATPORT | OCT 16
(with Beaport Exclusive KiloWatts DJ Tool)
ADDICTECH | OCT 16
RESONANT VIBES | OCT 16
Support for this release comes from SLAM, XPANSUL, DRUMCELL, ALLAND BYALLO, TYLER STADIUS, JOHN SELWAY, STRYKE, DANIEL MNOOKIN, MIKE CALLANDER, JASON SHORT, PHIL K, FINE CUT BODIES and more...
2 FREE UNRELEASED SONGS FOR DOWNLOAD:
THERIM [RIFT DJ TOOL]
GENRE: TECHNO/DJ TOOL
THE PROPOSITION [MIMIC'S ACCEPTANCE REMIX]
Click here to go to download page.
Bionic Beats is a unique collection of gritty, glitchy and mangled synthesized breakbeats created by KiloWatts and his legion of bionic aliens. Each drum loop is provided with a full mix as well as the individual "stems", so you can mix and match over 130 kick, snare, hat, and noise loops, and process every part separately. Drum kits containing many of the individual sounds are also included, so you can program your own beats. The possibilities are endless.
These generative glitchy drum sequences, complete with quirky but precise cuts and edits, will make your remix a biomechanical masterpiece. Making use of a startling range of frequencies, Bionic Beats will impress at nearly any tempo. Move your modulation wheel for immediate control, creatively programmed to give you instant mangle madness. From breakbeat to experimental to film, these loops are sure to raise the edge factor of any mix--in your studio, DJ set, or live on stage.