When we decided to devote our summer issue to underground electronic music, one creative partner came to mind: @moogmusicinc, the all-analog-everything architects that still make their iconic synths by hand in Asheville, North Carolina. Rather than simply coordinate a sponsorship deal between the company and a few of our favorite New York producers—Laurel Halo, Gavin Russom and Brenmar—we gave each of them a card from Brian Eno’s “Oblique Strategies” deck as a source of inspiration for an exclusive song.

What we got back far exceeded our expectations and reflected the range of electronic music in our issue perfectly, from Brenmar’s hip-hop ballistics and Russom’s 11-minute “holistic workout” to Halo’s nocturnal emissions. 

Read about each track here:
https://issuu.com/selftitled/docs/st_19_issuu/24

Moog x self-titled

Read about our campaign with @moogmusicinc here: 
http://www.self-titledmag.com/2013/06/27/download-an-exclusive-oblique-strategies-ep-featuring-laurel-halo-gavin-russom-and-brenmar/

Oblique Strategies Card: 
"Spectrum Analysis"

Equipment Used: 
"Logic as my master clock and recording deck; an MPC2000 as MIDI Sequencer and beat programmer; and a TR-707, KPR-77, DX-7, two Slim Phattys, MF-104M Analog Delay, MF-105M MIDI MuRF and MF-102 Ring Modulator for sounds and processing"

The Story Behind the Song: 
"I look at music very physically, from constructing patches of gear that function like living organisms to creating sounds that impact the body, with a strong element of spontaneity. This track was partly about getting pumped up, like the soundtrack for a workout montage in a movie like Rocky. Only it’s a holistic workout that includes spiritual and physical fitness. Maybe that relates to the card in how 'Spectrum Analysis' is like going over the whole system and tuning it up. I found interesting ways to use the new Moog gear, too, playing the knobs live and thinking of ways to use each piece that might not be the standard 'set and forget' approach. Keeping everything moving like that made each sound feel alive, like they’re all getting together and doing their thing."

Gavin Russom - "Our Streets"

Read about our campaign with @moogmusicinc here: 
http://www.self-titledmag.com/2013/06/27/download-an-exclusive-oblique-strategies-ep-featuring-laurel-halo-gavin-russom-and-brenmar/

Oblique Strategies Card: 
"Remember Those Quiet Evenings"

Equipment Used:
Little Phatty Stage II, MF-104M Analog Delay, MF-102 Ring Modulator, MF-101 Low Pass Filter, various hardware/software samplers

The Story Behind the Song:
"You could dedicate an entire discography to exploring ‘those quiet evenings,’ so I focused on the gear itself. I knew that the Moogerfoogers would be great, but I had to spend some time with the Little Phatty to see what I could get out of it. I wanted the track to have a vague nighttime feel—a bit spaced-out and impressionistic. So with the Oblique Strategy prompt in mind, the track came out sounding freer than previous ones I’ve made, exploring modal types of improvisation with the recording and responding to the pitches the Delay pedal would create. I enjoy creating both percussive and ambient tracks these days, focusing mostly on sound design, and this project was a good way to explore both a looser sound and writing that places a premium on mood and timbre before structure and complexity."

Laurel Halo - "M-14"

Read about our campaign with @moogmusicinc here: 
http://www.self-titledmag.com/2013/06/27/download-an-exclusive-oblique-strategies-ep-featuring-laurel-halo-gavin-russom-and-brenmar/

Oblique Strategies Card: 
"Be Extravagant"

Equipment Used:
Little Phatty Stage II, MF-101 Low Pass Filter, MF-102 Ring Modulator and MF-105M MIDI MuRF, recorded/mixed on a Mac Pro running Ableton Live

The Story Behind the Song:
"When I think of Moog and most analog synths in general, they usually represent a previous era of synth-based electronic music. I gave myself the task of using analog gear to sound very contemporary and fresh. I had to do a fair amount of post- processing to get there, but the actual journey of making the track was the most fun I’ve had in a while. I’m a sound nerd at the end of the day; actually playing with the knobs and waveforms in real time is so great. I basically made a heavy hip-hop beat utilizing a lot of my own processed Moog samples—pretty cool. It’s meant for the club. I make music I can DJ out; I’ve already added it to the setlist."

Brenmar - "Moog Beat"

self-titled is a music magazine that has nothing to do with music. At least not in the traditional sense of self-important ‘criticism’ and profiles that read like regurgitated press releases. Yes, we print reviews and thought-provoking features, but we also pride ourselves on answering the questions others don’t ask. Find out what some of those questions are by reading our daily site or one of the back issues below.

For more information, or to request our one sheet for prospective advertisers and creative/event partners, please feel free to contact one of our editors:

Editor/Publisher, Andrew Parks, aparks@self-titledmag.com
Managing Editor, Arye Dworken, adworken@self-titledmag.com

As for getting covered in our digital magazine or daily edition, please send any material for review or feature consideration to our central office at:

self-titled
4204 Oakland Ave.
Minneapolis, MN 55407

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