But even if you only work one monitor, the Reference panel lets you zoom in and pan, so you focus on the part of the image you’re painting at the moment when you need to. One thing we artists need to really take into account when we’re using reference is the values. Many use squinting to do this en plein air or with live models to better figure out the contrast in values. In Rebelle’s Reference panel you can now simply turn the image into greyscale, so you can focus only on the values when you need to, no squinting needed! Of course, you can also do this with the document, so you can match what you’re seeing with what you’re doing whenever you want (useful also for the Preview panel). One of the under the hood improvements that I have to mention is the ability to drag and drop images onto the canvas, something I always use and miss terribly when a program does not support it. But it works with all kinds of stuff in Rebelle 3! Drag & drop files, brushes, papers, color sets or stencils to appropriate panels.ĭrag & drop.
REBELLE 3 REVIEW ZIP
zip assets to the main window with canvas - Rebelle will unzip and sort the assets internally. That means if you drop any image into a panel with brushes in Rebelle 3, it will create a new brush. If you drop the image into Color Set panel, it will create a new color palette. The last one I’ll mention is the White (or Black) to Alpha filters. Incredibly useful when you sketch and want to take a scan of it into the program, it will turn the white pixels of your scan (usually, the paper part of your sketch) into transparency, so you’re left with only your pen or pencil strokes. "What's happened where whole generations have not been able to get in and progress?" Josey In Space is an homage to those very generations, packaged in pure, spacey euphoria.These are just some of the new features that impressed me the most, as I can’t go over them all without turning this article into a book. "This music was originally created by black people, and growing up a lot of the people around me doing music were black kids," she said. In a 2017 Mixmag profile, a baffled Josey Rebelle questioned the lack of diversity in the electronic music industry. Poignant imagery leads "I Dream So Loud," as Tenesha The Wordsmith lays bare, "I dream so loud, my dreams reverberate in my womb/ My children are born, rejecting statistics." Somewhere between floating pads, we are informed in the outro that an escape module will depart in T-3 minutes. At the opening, a voice bellows "I dream a lot of our old world/ I dream a lot of time," preparing us to ditch this reality for a familiar utopia.
Interspersed with mechanical spoken word, the mix is also undergirded by a transportive Afrofuturism. Tracks journey through the wonky breakbeat of rRoxymore's "What's The Plan?," jazzy horns blare and percussion patters in Andrés'"Cafe Con Leche" and on "Bird Songs 4 Amelie," Hieroglyphic Being offers blissful Chicago house. Rebelle may claim Tottenham as her stomping ground, but her range as a selector extends far beyond the UK circuit. So too does the extent of her collection. Her uncanny ability to bridge the gap between the emotional and wistful to the strange and driving shines here. Rebelle follows with the minimalistic "Glitch Bitch," impressively pulling off a quick cool-down without throwing off the energy of the mix. Her first loves as a young DJ were hardcore and jungle, and she shows her appreciation for the roots of UK dance music with '90s cuts like Rum & Black's "Zombies At Dawn," one of Josey In Space's few obvious bangers.
Much like Rebelle's previous mixes, the selections in this compilation span multiple decades and genres.
REBELLE 3 REVIEW ARCHIVE
Intended to be listened to as a mix, it's a fascinating archive of black dance music, new and old, pillared by the work of black artists between the US and UK. Months later, the Tottenham native has been made DJ Mag's February cover star, and last week she released Josey In Space, the latest instalment of the Beats In Space mix series. At the tail end of 2019, Rebelle's career reached a sudden turning point when her BBC Radio 1 mix won Essential Mix Of The Year. While the word "slow" is typically used in interviews to describe her ascent, 2019 threw a wrench into her gradual approach. Her residency on Rinse FM exudes warmth, traipsing past sludgy reggae, cosmic jazz and soul-baring R&B, soft passages from which she often careens into harder sections of house and techno.
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