XLR8R http://www.xlr8r.com Accelerating music & culture Sat, 27 Jun 2015 20:05:27 +0000 en-US hourly 1 Adventures in Daydreams "The Man Who Only Loved Numbers" http://www.xlr8r.com/mp3/2015/06/adventures-in-daydreams-the-man-who-only-loved-numbers/ http://www.xlr8r.com/mp3/2015/06/adventures-in-daydreams-the-man-who-only-loved-numbers/#comments Sat, 27 Jun 2015 15:00:46 +0000 http://www.xlr8r.com/?p=94369 On July 6, Leeds-based techno duo Adventures in Daydreams will return to Richard Fletcher and Jordan Bruce's Tact Recordings for its sixth appearance on the label with the Man Who Loved Only Numbers EP. Composed of four deep and spacious techno cuts, the EP melds crisp 808 drums with floaty pads, melodic flourishes, and rolling rhythms. The title cut opens the EP with deep, didgeridoo-like textures before a chugging groove lands, locking the track in for the eight-minute ride ahead. You can download "The Man Who Only Loved Numbers" for free below, with he full EP available July 6.

The Man Who Loved Only Numbers

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Om Unit Announces 2015 US Tour Dates http://www.xlr8r.com/news/2015/06/om-unit-announces-2015-u-s-tour-dates/ http://www.xlr8r.com/news/2015/06/om-unit-announces-2015-u-s-tour-dates/#comments Sat, 27 Jun 2015 01:39:00 +0000 http://www.xlr8r.com/?p=94334 UK jungle enthusiast and Cosmic Bridge label boss, Om Unit, will tour the US and Canada next month in support of his latest release Torchlight Vol. 1.

The tour kicks off with a date in Boston at Phoenix Landing, and goes all the way to Merritt, BC, Canada as a part of the absolutely stacked Bass Coast Festival lineup. The tour will come to a close with a huge string of shows on the west coast, including a four day bender that starts on Thursday in Los Angeles for Respect, and eventually comes back to CA for a nightcap at Stamina Sundays in San Francisco. All of the shows are in support of Om Unit's new releases scheduled to come out on his label, Cosmic Bridge.

Torchlight Vol. 1 is scheduled to be released tomorrow on limited edition 12” vinyl and digital download via the Cosmic Bridge Bandcamp page. There are only 20 copies left of the vinyl on their website, so get one now by clicking here.

Om Unit US Tour Dates:

09-Jul-2015: Boston, USA Phoenix Landing (Elements)
11-Jul-2015: British Columbia, Canada Basscoast Festival
16-Jul-2015: Washington DC, USA Zeba Bar w/ DJ Earl
17-Jul-2015: Edmonton, Canada Pawn Shop Live (Future Roots) w/ Sam Binga
18-Jul-2015: Houston, USA Gritsy w/ DJ Madd + Tunnidge
19-Jul-2015: Austin, USA Barcelona (Mad Classy)
23-Jul-2015: Los Angeles, USA The Dragonfly (Respect DNB)
24-Jul-2015: San Diego, USA Kava Lounge
25-Jul-2015: British Columbia, Canada Motion Notion Festival
26-Jul-2015: San Francisco, USA F8 (Stamina Sundays)

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Premiere: Stream a Track From NAP's Debut Release on 1080P http://www.xlr8r.com/news/2015/06/premiere-stream-a-track-from-naps-debut-release-on-1080p/ http://www.xlr8r.com/news/2015/06/premiere-stream-a-track-from-naps-debut-release-on-1080p/#comments Sat, 27 Jun 2015 00:17:08 +0000 http://www.xlr8r.com/?p=94307 Early next month, Colombian-born, Vancouver-based Daniel Rincon (a.k.a. NAP) will release his debut album, Uncharted, via 1080p.

The nine-track outing finds Rincon exploring "proto IDM and rhizomatic house and techno" with the same fervour and warm touch he applied to his previous guitar-based noise projects. With the production help of Jesse Creed (The Passenger) and Sophie Sweetland (D. Tiffany), Uncharted playfully traverses through a range of left-field electronic spaces, taking in lo-fi house, slowed-down machine-like funk, and rhythmic ambient explorations. With his weapons of choice being the cheapest guitar pedals, grooveboxes, and synths he could find, Rincon has crafted a hazy, smoke-filled sonic space that invites continued exploration.

Ahead of the July 7 release date, you can stream fragile opening cut "Urban Fair" in full below, with Uncharted available for preorder here. Additionally, NAP will be performing at a handful of European tour dates, which you can also find below.

Tour Dates:
July 18 F Lille - Le Rouge
July 20 B Brussels - Bal National
July 24 DE Frankfurt - Café Koz
July 25 DE Kassel - Magic Garden
July 30 DE Dresden - tba

July 31 DE Chemnitz - tba
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Howling Launch Sacred Ground Album Tour http://www.xlr8r.com/news/2015/06/howling-launch-sacred-ground-album-tour/ http://www.xlr8r.com/news/2015/06/howling-launch-sacred-ground-album-tour/#comments Fri, 26 Jun 2015 23:33:44 +0000 http://www.xlr8r.com/?p=94288 After successfully releasing its debut album, Sacred Ground, in May, Howling will now plunge into an international tour with shows in Germany, London, and North America. The tour runs though July and August, with their U.S. debut taking place in New York at Output at the end of July.

The live duo consists of The Acid's frontman, Ry X, and Âme's Frank Wiedemann. The act quickly exploded onto the scene when Dixon closed his Boiler Room set with the original version of their self-titled song "Howling." Though the track was hardly past the demo stage at that time, the combination of beautifully hypnotic vocals from Ry X, mixed with the flowing soundscapes provided by Wiedemann, turned out to be a powerful and unexpected happenstance.

"It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

After bringing its captivating live show to Europe for festival performances at Nuits Sonores in France and Berlin Festival in 2015, the band performed at a number of infamous ‘Lost in a Moment’ parties hosted by Innervisions. Howling is now set to make its North American debut with dates at Output in New York, and at local Los Angeles art warehouse, Lot 613.

You can purchase tickets to the show in LA by clicking here, and you can get tickets to the show at Output via ticketfly by visiting their website.

Sacred Ground Album Tour Dates:

7.11: Sacred Ground Festival - Brussow, Germany
7.14: Take it Easy - Milan, Italy
7.16: The Cann - Stuttgart, Germany
7.18:  Lovebox Festival - London, UK
7.19: MELT! Festival - Ferropolis, Germany
7.29: Output - New York, NY
7.31: Lot 613 - Los Angeles, CA
8.20: Schoener Alfred Essen, Germany
8.21: Lowlands Festival - Holland
8.22: Pukkelpop - Belgium

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Premiere: Stream the New Sawf EP in Full http://www.xlr8r.com/news/2015/06/premiere-stream-the-new-sawf-ep-in-full/ http://www.xlr8r.com/news/2015/06/premiere-stream-the-new-sawf-ep-in-full/#comments Fri, 26 Jun 2015 16:42:49 +0000 http://www.xlr8r.com/?p=94368 Greek producer Sawf, a core member of the Modal Analysis roster, is scheduled to release his latest work, the Sonic EP. The Sonic EP is a stunning four-tracker with a clear intention to interpret an industrial-noise aesthetic from a techno perspective.

"Sonic#1" is a cut from the intro of Sawf’s live set, offering a powerful combo of processed vocals and distorted soundscapes. "Sonic#2" comes as a long and stepping beast that creates the uncomfortable feeling of a horror movie soundtrack. On the B side, "Sonic#3" blends blurry vocals with rhythmic industrial elements on a breath-taking bass-line, while "Sonic#4" presents Sawf’s charisma on impro-noise compositions.

Connected to the release, on July 17 Athens—based event series π will cross the Greek border and travel to Berlin for its first night at Arena Club. π09 is the 9th edition of the series, which comes as a collaboration event between ‘π’ and Samsara Sessions, a London founded party which debuted at Corsica Studios, London in 2014. Featured artists will include Ancient Methods, Sawf, Lower Order Ethics and Modeo. The night will also be supported by 3.14, co-owner of the Modal Analysis label and team co-ordinator of the ‘π’ events.

More information on the event can be found here.

Ahead of the its July release, the Sonic EP can be streamed in full below.


A1: Sonic#1 (Original)

A2: Sonic#2 (Original)

B1: Sonic#3 (Original)

B2: Sonic#4 (Original)

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Dopplereffekt, Roedelius, and Vessel Head up Semibreve Festival http://www.xlr8r.com/news/2015/06/dopplereffekt-roedelius-and-vessel-head-up-semibreve-festival/ http://www.xlr8r.com/news/2015/06/dopplereffekt-roedelius-and-vessel-head-up-semibreve-festival/#comments Fri, 26 Jun 2015 16:24:06 +0000 http://www.xlr8r.com/?p=94295 Back for its 5th edition at the end of October, Semibreve festival has announced its first wave of artists.

Heading up the bill will be pioneering electro duo Dopplereffekt, and electronic music veteran Roedelius—who will celebrate his 80th birthday with a performance featuring Portuguese musicians and a visual artist. The lineup will also include performances by Tri-angle artist Vessel, Heatsick, Klara Lewis, and more.

Focused on creating unique audio/visual experiences, Semibreve will take place at the historically grand Theatro Circo, the modern and cutting-edge arts complex GNRation, and a heritage building Casa Rolão—which was constructed by well-know Portuguese architect André Soares in the 1700's.

For more information, including tickets, head to the Semibreve website.

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Marcel Dettmann and Sasha Head up Electric Island http://www.xlr8r.com/news/2015/06/marcel-dettmann-and-sasha-head-up-electric-island/ http://www.xlr8r.com/news/2015/06/marcel-dettmann-and-sasha-head-up-electric-island/#comments Fri, 26 Jun 2015 15:10:07 +0000 http://www.xlr8r.com/?p=94326 Following on from the success of the season opener—which featured sets by Tuskegee (Seth Troxler B2B Martinez Brothers), Pan-Pot, Steve Lawler and Tom Trago—Electric Island has announced its lineup for the Canada Day Edition with Marcel Dettmann, Sasha, Dennis Ferrer, and Lee Foss confirmed.

You can purchase tickets to Electric Island here, with the full schedule and more information available here.

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Only Now "Needs" http://www.xlr8r.com/mp3/2015/06/only-now-needs/ http://www.xlr8r.com/mp3/2015/06/only-now-needs/#comments Fri, 26 Jun 2015 15:00:46 +0000 http://www.xlr8r.com/?p=94319 Fusing tribal percussion, haunting textures, and coarse, tuned metal, Kush Arora's recently launched Only Now project has carved out a jarring, apocalyptic self-titled album that's available now digitally, and on cassette next month via Record Label Records. Pulled from the album is the ritualistic "Needs," a highly atmospheric cut with dense, otherworldly sound design, echoing chants, dub-tinged flourishes, and trance-inducing rhythms that bring to mind the kuduro dance which the project was heavily influenced by. You can purchase Only Now over at the Only Now Bandcamp page, with the limited edition cassette arriving June 2 and "Needs" available as a free download below.


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DJ Koze, Ben UFO, and Voices From The Lake Confirmed for MUTEK.MX http://www.xlr8r.com/news/2015/06/dj-koze-ben-ufo-and-voices-from-the-lake-confirmed-for-mutek-mx/ http://www.xlr8r.com/news/2015/06/dj-koze-ben-ufo-and-voices-from-the-lake-confirmed-for-mutek-mx/#comments Thu, 25 Jun 2015 20:13:47 +0000 http://www.xlr8r.com/?p=94290 Taking place October 21 to October 25 in Mexico City, MUTEK.MX  has announced its first wave of artists for the 2015 edition.

Following the UN's proclamation that 2015 would be the International Year of Light and Light-based Technnology, MUTEK.MX has decided to focus this years edition on "artistic presentations, educational activities and intense experiences will revolve around the physical phenomena of Light." So far, the list of confirmed artists include DJ Koze, Voices From The Lake, Ben UFO, Alessandro Cortini, AR-P, Lotic, Atom & Tobias, Robert Henke presents Lumiére 2.0, and Vatican Shadow, among others.

Early bird tickets will go on sale tomorrow, with more information available here.

MUTEK.MX 2015 from MUTEK Mexico on Vimeo.

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Jackie's House: The Black Madonna and Doc Sleep http://www.xlr8r.com/features/2015/06/jackies-house-the-black-madonna-and-doc-sleep/ http://www.xlr8r.com/features/2015/06/jackies-house-the-black-madonna-and-doc-sleep/#comments Thu, 25 Jun 2015 19:53:09 +0000 http://www.xlr8r.com/?p=94120 Jackie House (a.k.a. Honey Soundsystem co-founder Jacob Sperber) is someone who, besides throwing some of the San Francisco's best parties, can always be counted upon to deliver whip-smart (and often hilarious) commentary about the electronic music sphere without relying upon the stuffy sensibilities and bland dialogue that often governs such discourse. As such, we felt she'd be the perfect addition to the XLR8R team, and are proud to present a semi-regular column, 'Jackie's House,' in which she can banter with artists in her own unique way.

When Mike Servito forced himself into a 7-Eleven taquito coma the Saturday night of Movement weekend 2015 and slept through his assignment to report on a new after-party, XLR8R was shit out of luck. Good thing I am the one they call when they need someone to buy toilet paper.

Club Towelette, a collaboration between the loudest homosexuals in dance-music—Honcho, Macho City, and Wrecked—poo-miered itself onto this year's Movement festival's unofficial after-party circuit. Aside from providing a safe space and pop-up for GLBTQ amateur pharmacologists, the much talked-about romp was to take place in a famous (famous like: try our Famous Cheese Fries or World Famous Gold's Gym) gay bar called the New Menjo's Complex. For many queens, Movement weekend is their yearly "return to the D" (Motor City Pride isn't much the to-doo-doo for ex-ravers) and the thought of being able to do a dance in one of the last standing relics of "a gayer time" pushed the hype off this after-potty.

Club Towelette boasted a nine-person line-up of the who's-who-of-who? of homosexualist boompty, including Detroit hometown hero Michael Trombley, Los Angeles underground queen-pin Chris Cruise, and a ton of other bottoms. But, like every great gay-ish party, the sex rises to the top, and someone has to pay attention to the music. For that job? Doc Sleep and the Black Madonna. Two of America's hardest working women in dance music and the kind of gworls who can handle (or thrive around) the smell of shit and poppers. Being potentially the only reliable sources of information from that night, I set out to interview them both for their take on bio-femming the "Machoncho-muchachos" and the highs and lows of being so celebrated with the gays.

Doc Sleep, the founder of San Fran–based label Jacktone Records, techno producer and decades long waxslinger, met me for a Skype with the needs-no-introduction Black Madonna, who was literally getting her hair done when we called. Excuse me…did—was getting her hair did right when we called...

Jackie House: Hieeeee.
Doc Sleep: Hieeeeeeee.

The Black Madonna: Hieeeeeeeeeee! I'm getting my hair did. I am sitting here stepping into my inner blonde ambition as we speak.

Doc Sleep: Oh my god, I love it. Like platinum blonde? Have you done that before?

The Black Madonna: Oh gosh, yes. I was quite blonde all through the '90s. I was paper-white until like '97.

Jackie House: Literally going back to your roots?

(collective moan)

Jackie House: Just a preface—if anything I ask you two makes you uncomfortable, we can stop at anytime. Or if your roots start burning, Marea.…

The Black Madonna: Oh, honey, I took a Xanax and have a glass of wine.

Jackie House: Ok, well, let's let it loose, so to speak. Set the stage for us, pre–Club Towelette.

The Black Madonna: Well, to give you an idea of where this venue is—at 4am, we had to take the world’s most expensive ride out to Menjos, which of course is in the middle of bum-fuck Egypt. The driver had a look in the rear-view the whole time like "What kind of straight-white people are going out to Menjos at this time of night?" While I was thinking:,who the hell is going to take a 5 -times surge Uber out here with as little energy as the party kids had at that point? To my surprise, we pull up to the Coney Island Dog (the only one open 24 hours) at the end of the universe—and across the street is Menjos, with people everywhere.

Doc Sleep

Doc Sleep

Doc Sleep: I arrived quite early and was fresh as a daisy. I road-tripped to Detroit by way of Chicago with the Honey Soundsystem guys earlier that day. On our way there we did make an extended pit stop so Josh Cheon [of Dark Entries Records] could purchase a sparkly pink hat...a statement piec, in leather fringe and a leather hat. Anyway, I got there around 11, and watched it all unfold. There was no one...and then [claps hands] there were hundreds of people. You could tell by the shape people were in that this was definitely the last stop on their party choo-choo.

The Black Madonna: Yeah, there were some people in some very fine shape.

Jackie House: So the club was based around a theme and we know how much gays love a theme—or a statement cap. It was called Club Towelette.

The Black Madonna: It was not called Towelette.…

Jackie House: It was called Club Towelette, referencing the little known trend that gay men keep moist towelettes in their back pockets for both hygiene and because when you sniff them you can get a temporary head high. You guys have played a lot of gay parties, but maybe you weren't aware of the towelette scene? I mean, were you guys in on the joke?

Doc Sleep: I was kind of hip to it when I started to see guys wearing graphic t-shirts out at clubs. I can't remember what brand of towelette it was but, the t-shirt graphic was in the style of those Rush poppers shirts?

The Black Madonna: Wait, this is literally not a joke?

Jackie House: I mean, I am sure you guys have read or heard the oddball traditions from clubs past, where discos would put moist towelettes in the fog machine, or the club-kid trend of waving your towelette when they loved a track that was playing. You didn't see any of that at the party?

The Black Madonna: Girl, you couldn't see anything because the booth was not even connected to the dancefloor. All I was told was that a lot of straight boys took off their shirts while I was playing—and that really impressed Ryan Smith.

Doc Sleep: I think the moistest towelette moment during my set was from Carlos Souffront, when I dropped “Work It to the Bone”—even in our dark corner booth you could see that towel.

Jackie House: So he was flagging his towelette for you? That's getting pretty big right now, too.

Doc Sleep: Ha ha—sure, Jackie. But Marea is right—it was hard to see because we were cloistered away up in that DJ booth, but I thought the setup was amazing. The dancers were very focused in the other direction, which coincidentally was like witnessing this very talked-about concern in underground dance, for the crowds to "stop staring at the djs."

Jackie House: Edgy! Do you think since the night was so much about breaking conventions that dancers also came with the intention to decentralize the focus and push energy on this symbolically empty stage?

Doc Sleep: That—or they thought drag queens were going to come out onto the stage.

Jackie House: Were there any drag queens in attendance at Club Towelette?

Doc Sleep: I saw some kaftans and heels but I think that is as far as it went.

Jackie House: In fact did you see any drag queens at all Movement weekend?

Doc Sleep: Uh,  just some kids in pink fuzzy boots—RuPaul was busy. And now that I think about it, I am not sure how safe it was for heels at Towelette. It was a skating rink in there.

Jackie House: Explain!

Doc Sleep: Between the transferring of fluids and dripping sweat, the floor was a fantastic hot mess—there must've been towelettes covering all the vents, obstructing the circulation of air.

The Black Madonna: It was the wettest club. At some point, I was sitting against the wall and water was dripping down my back. And as far as the air, there was this “je ne sais poppers.” Something that was everywhere Movement weekend. 2015 will go down as the year that straight kids discovered that poppers rock, and that daddies are hot.

Jackie House: Amen. I mean, other then maybe picking up poppers here and there, it seems as though you two still must get to join in on some very otherwise closed-to-straight-people activities.

The Black Madonna: My favorite thing about playing in these hyper-male gay spaces is that freedom, freedom knowing no one is going to try to grab my tits, and knowing all that other bullshit that happens in clubs is less likely. I luxuriate in the freedom of virtually no one wanting to fuck me when I am DJ’ng these parties. The last time I played in Laboratory, I played without a shirt on—I mean with a bra, but you know I wouldn't do that anywhere else.

Doc Sleep: Aside from the moments a drunk bear hits on me because he thinks I am a dude, as a queer woman in that space I can get away with a lot. The shenanigans get pretty entertaining, especially because they aren't paying attention to me like they are the boys on the floor, or in the booth. There was one night at Honey Soundsystem when it was still at the Holy Cow, and someone told me Peaches was coming, and I thought it would be funny to run with that rumor and within a half hour we had convinced the entire club Peaches was somewhere on the Holy Cow patio, and we had a search party going and everything—a lot of “oops, you just missed her” or “oh, there she goes!” pointing at the back of someone’s head as they walked away into the night—and then, I think a few drinks later, I actually believed my own lies and thought she was really there. But definitely—the Honey Soundsystem shenanigans were in full force at Towelette as well, I’d say.

The Black Madonna: You gotta look out for those Honey Soundsystem shenanigans.

Jackie House: Oh god, they're happening right now.… Speaking of shenanigans, what is the dumbest thing a gay guy has said to you in at a gay club you were headlining at?

Doc Sleep: I was playing in Shanghai and there was this group of British queens, and one of them kept coming up to the booth and saying “Will you play Madonna? Will you play Madonna?” and I kept answering “no, sorry I don’t have that with me.” He was getting really agitated and kept coming up and asking and finally I just said, “Dude I am sorry, I am just not going to play Madonna.” To that he replied: “Oh, well—what are you going to play then…Melissa Etheridge?” and threw his head back, and cackled so loudly you could hear the cackling echo over the sound system. I couldn’t even be mad at him because it was so well-executed—quite a read, quite a cackle.

The Black Madonna

The Black Madonna

The Black Madonna: Probably my favorite moment like that was when I was playing at Snax. The only few women allowed to be in Snax that night I think were like me and Steffi, because as you know, it is a men-only event. After playing one of my sets, my husband and I were in line in the men's room… yes, I took my husband on a date to Snax—and my husband went into a stall and I was now standing alone in line for the men’s stalls in Berghain. This guy comes out of a toilet and walks up to me, sort of wide eyed and very surprised and he said, “Are yoooou ooooooookaaaaaaay?” And I said, “Yeah, I am okay,” and he goes “What is it that you dooo here?” and I said “I am DJing” and he yelled a bit with concern “there are women in this building?” and he was very shocked. We ended up having a very sweet interaction, but it was one of the more interesting collisions for a woman in a safe space for queer men.

Jackie House: I dunno if I would call Snax a “space safe” for anyone.

The Black Madonna: It was safe enough for me.

Jackie House: Well, what may seem to come naturally to you guys is probably not to most women. Similarly, I am sure you guys have done your fair share of adapting to the sometimes-extreme gay environments—becoming comfortable with the colloquialisms and mannerisms of these men. How about this whole “gurl” thing—gay men referring to everyone, gender aside, as “gurl?” I have seen plenty a time where someone taking that, or saying that, in the wrong context has backfired. I can tell you plenty of times I said “gurl” to the wrong guy—even a gay man—and it lit the room on fire.

Doc Sleep: I do my fair share of being “one of the boys,” but there have been times when the language used feels problematic. I was hanging out with a gay guy one time and he kept referring to a trans acquaintance of mine as “gurrrrl.” I finally said to him, “You know, he just went through a lengthy transition and now uses the “he” pronoun.” He basically brushed it off and responded: “Oh gurl! I call everyone gurllll.” Ok, werq, I guess.

Jackie House: I mean it gets even more complicated when a straight man is calling everyone “gurl.”

The Black Madonna: Agh! that one gets me!

Jackie House: Responding to RuPaul-related memes, having to learn new queer terminology and be able to stealthily use it in comments, and potentially purchasing themed outfits or even safety gear for hazardous situations. Let’s talk about this rumor that some artists are asking for more fees ahead of gay events because the exhausting Facebook interaction that is required just to play at one of these events. Oh, and poppers—buying poppers.

The Black Madonna: I’m pretty sure that is a rumor, but anyone who wants to give me money for poppers…they can.

Doc Sleep: I do up my fee when I’m asked to include the hashtag “beardsofinstagram.”.Also, I think the Club Towelette event page on Facebook came close to shutting down the Internet. It was a toilet meme job well done.

The Black Madonna: There was some was some excellent Internet work done by people on this event. There was even a little bit of rivalry between someone who previously threw a toilet-themed party. I’ve never seen more photos, posts, GIFSs in an event page in my entire life.

Jackie House: Well, in the end hopefully, not all of the secrets and fun had by all will end up back on the Internet. Why don’t we end with some thoughts how Movement changed IRL this year?

The Black Madonna: I will tell you one thing, this was the Movement that was all about the after-parties. You saw the same people moving through different kind of events and different kinds of spaces and working together on that. This party was in the middle of nowhere and slamming at 6am, and was a perfect example of that. Jokes aside, the DJ booth at Towelette not centered and people interacting with each other made the party more about the music—and that is exactly how it should be. That is an awesome thing that happened—and, similarly, in many places around Movement that weekend.

Doc Sleep: Our scene in the States is popping off right now, and the after-parties really highlighted it. You can feel the excitement around these parties in Detroit, but, also as you talk to each person about what’s happening in their own city. I also think the fact that Club Towelette was so successful in its first year is not only a testament to the hard work and pull of each of the promoters and DJs in their individual scenes, but also that the gays have momentum, they have respect, and they are throwing parties that people want to go to—not just for drugs, not just to cruise, but, for the music.

The Black Madonna: I gotta go—hair is tingling—I will send you guy pictures of my hair at the end of the night. And don’t publish this without letting me read it.


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Civil Duty Release Debut Album On The Corner http://www.xlr8r.com/news/2015/06/civil-duty-release-debut-album-on-the-corner/ http://www.xlr8r.com/news/2015/06/civil-duty-release-debut-album-on-the-corner/#comments Thu, 25 Jun 2015 18:36:20 +0000 http://www.xlr8r.com/?p=94032 Anthony Parasole continues to stand strong as not only a respected DJ and techno producer, but as a label manager and music taste-maker. Recently, Parasole's been smashing through multiple hour closing sets at Sonar with Marcel Dettmann and other MDR crew, yet he is still finding the time to perfect his craft as the head of prestigious labels like Deconstruct and The Corner. The latest release on The Corner has Beau Wanzer and Shawn O'Sullivan teaming up again for a self-titled album as Civil Duty.

The release is available as a two 12" LP vinyl release, as well as a digital download. Both producers have put in work during the last two years, including a full list of releases by Wanzer, and an untitled release by O'Sullivan on the Brothers label that included a collaboration with Hound Scales (a.k.a. Nico Jacobsen). The new Civil Duty album is undeniably a raw techno journey all the way through, and the upfront tempos and track formation reveal that the duo wield the ability to create a fluid album that holds nothing back. The nine tracks on the album clearly express Civil Duty's desire for constant change and an ability to squeeze new sounds from old forms.

You can purchase digital versions of individual tracks, or grab the entire album over at Hardwax website by clicking here. The vinyl will also be available via Juno Records by clicking here.


A1 No Dexterity
A2 Microtome Massacre
B1 Belial's Night In
B2 Mindhives
C1 Pure Tums
C2 Spiderbites
C3 Fischkopf
D1  Two Door Civic
D2  Pro Emetic


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Velvit Be So Cruel EP http://www.xlr8r.com/reviews/2015/06/velvit-be-so-cruel-ep/ http://www.xlr8r.com/reviews/2015/06/velvit-be-so-cruel-ep/#comments Thu, 25 Jun 2015 18:14:33 +0000 http://www.xlr8r.com/?p=94036 Best known for his work as drum-and-bass don dBridge, decade-spanning producer Darren White has made his long-awaited debut on Dusky and Christian Piers’ label 17 Steps with the dark and soulful three-track EP Be So Cruel, donning his house and techno moniker Velvit for the release. The EP’s title track retains the technical heavy-hitting elements of White’s early productions, but translates them beautifully into a soulful four-to-the-floor hummer, even featuring vocals from White himself.

The track builds a dark groove with thumping kicks and a reverberating bass-line before quickly relenting shortly, returning with light rolling percussion and White's crooning: “You used to say you wanted me, that I was the only one for you.” There’s poignancy in White’s voice as he continues and repeats the chorus of the track, “How could you be so cruel?” with synths swirling above as the track dives ahead. Rounding out the release are tracks "No Excuses," featuring vocals from White's brother Steve Spacek, and "South of Your Soul," with dark electro vibes.

Since being prominently featured in Dusky’s Resident Advisor mix last year, “Be So Cruel” has garnered much buzz and anticipation for the veteran producer, as well as for the young imprint. White justifies the hype and maintains the momentum of prior releases from label bosses Dusky and Piers, offering a fresh contrast to current club sounds with a dark and groove-laden track that is no doubt earning spins on dancefloors across the world.

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Exclusive Interview: Petar Dundov Set to Release New EP on Music Man Records http://www.xlr8r.com/news/2015/06/exclusive-interview-petar-dundov-set-to-release-new-ep-on-music-man-records/ http://www.xlr8r.com/news/2015/06/exclusive-interview-petar-dundov-set-to-release-new-ep-on-music-man-records/#comments Thu, 25 Jun 2015 17:18:44 +0000 http://www.xlr8r.com/?p=94265 Itʼs been almost two years since Music Man released Petar Dundov's third album Sailing Off The Grid on CD and limited 4LP. Heʼs been so busy touring and remixing that after last yearʼs single "Origins/Rise", the two tracks on this latest EP are only the first two new Dundov tracks since the album. Laced with Petar's melodic signature sound, his latest release is a must-have for all fans out there.

Ahead of the EP's release on July 6, XLR8R spoke with Dundov about his lengthy hiatus and how touring feeds his creativity. Snippets of his latest EP are available to stream below.


Over the years, you've managed to build a strong relationship with one of the most enduring techno labels out there. From a creative standpoint, do you feel this was a positive for you? 


I have been working with many labels in the past, under many aliases - for me it was all part of growing up as musician. I always liked various aspects of electronic music and I never restrained myself in trying different things.

During my earlier years, I learned so much about myself and music in general - and as time progressed I slowly started to focus on a particular sound. Sometime during that period, I met people from Music Man and we started releasing records under my real name. We didn't know where it is going to lead us; this was 13 years ago and I was still unknown artist - but they believed in my music and this gave me much needed self-confidence to proceed in my inner exploration. I had complete freedom and this was everything I was looking for.

For me the most important thing was to be able to stay in studio working late hours, focusing on writing good songs, knowing that after it was done, it would find its way to the audience. The label is the bridge between musicians and the listeners, and having one place where they can find you makes it all easier to follow.


Over recent years, your touring schedule has restricted your output to only one solo EP in two years. Is playing live or DJing something that restricts or feeds your creativity in the studio?


I've been constantly on the road for the past two years, playing live or DJing. I did two albums in two years and practically jumped from one tour to another. I did discuss with my publisher as to whether we should do so many releases in quick succession, but I just wanted to put this songs out as they were part of same opus.

Last year I was forced to start to think how to find a way to manage my studio sessions because time became so fragmented. Being able to perform good shows is very important and usually on a trip home I have all this energy from people and my mind starts firing like crazy. I quickly write couple of phrases on my laptop and that is enough for me for to be able to continue where I left off. I have a collection of compositions for the next album but the production process is lengthy because I tend to use complex arrangements. I decided to slow things down with shows to be able to finish the album. In the mean time I did lots of remixes because I could do those in a couple of days during week.

Is there a relationship (sounds, composition or process-wise) between LPs and EPs or do you see them as two completely independent entities?

There is an overlap but these two formats have steadily been becoming more independent for a number of reasons. Firstly, we tend to release albums with a couple of songs that we could repress as separate singles. That is all over now with the introduction of digital distribution. What makes more sense is to take songs from the album and have couple of artists to remix them and then release it as 12". When I am doing EPs I try to think how it will sound in a club or a radio. In this way, songs for singles need to have at least some compatibility with the current stream of music that DJs are playing, otherwise they were not be able to introduce them in their mixes. As a consequence of this, for albums, it is not necessary anymore to structure them around singles. Format gained more space for more narrative, stories could develop a deeper meaning. In a way, this is a positive change.



A / 1. Synchrotonic

B / 2. Holiday In Singularity

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Premiere: Stream the Spencer Parker Remix of Dan Beaumont's "Spirit Talkin'" http://www.xlr8r.com/news/2015/06/premiere-stream-the-spencer-parker-remix-of-dan-beaumonts-spirit-talkin/ http://www.xlr8r.com/news/2015/06/premiere-stream-the-spencer-parker-remix-of-dan-beaumonts-spirit-talkin/#comments Thu, 25 Jun 2015 17:11:59 +0000 http://www.xlr8r.com/?p=94195 Next month, Spencer Parker's Work Them Records will release "Spirit Talkin,'" the latest single from London-based producer, DJ, promoter, and venue owner Dan Beaumont.

The multifaceted Beaumont—who runs Dalston Superstore, Dance Tunnel, the Chapter 10 warehouse parties, and an NTS radio show—delivers a floor-focused house cut with a body-shaking kick, intricate drum programming, and a howling female vocal sample. The original mix is backed up by a "Beaumont Beats" version and the one in question here by label boss, Spencer Parker. Parker ups the tempo, adding energetic chords and refitting the powerful vocals.

Ahead of the release next month, Spencer Parker's remix of "Spirit Talkin'" is streaming in full below.

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Steffi Announces 12" with Remixes by Further Reductions and Answer Code Request http://www.xlr8r.com/news/2015/06/steffi-announces-12-with-remixes-by-further-reductions-and-answer-code-request/ http://www.xlr8r.com/news/2015/06/steffi-announces-12-with-remixes-by-further-reductions-and-answer-code-request/#comments Thu, 25 Jun 2015 16:26:18 +0000 http://www.xlr8r.com/?p=94261 Having just premiered her first ever live set at various festivals, Steffi revisits her Power Of Anonymity album with three completely new versions of "JBW25" by Further Reductions and Answer Code Request.

Brooklyn-based duo Further Reductions left a big impression on Steffi with their 2014 Woodwork LP. Now Shawn O'Sullivan and Katie Rose turned “JBW25” upside down and inside out. The original version's hypnotic synth bleeps are still there, but rhythm-wise their version is a stone-cold and arhythmic interpretation of “JBW25” with additional vocals, pushed to the absolute fringes of dancefloor compatibility.

Berghain resident Answer Code Request contributes two versions to this release: While his “Vision” adds a tough drum beat, percussion and a stronger focus on the ambient textures of the original, his “Revision” is more break-heavy, melodic and dreamy while setting a darker tone and mood overall.

Tracklisting 12” / Digital:

A1. JBW25 (Original Version)

A2. JBW25 (Further Reductions Version)

B1. JBW25 (Answer Code Request Vision)

B2. JBW25 (Answer Code Request Revision)

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813 "Dick Cash And Burger (Pixelord Remix) http://www.xlr8r.com/mp3/2015/06/813-dick-cash-and-burger-pixelord-remix/ http://www.xlr8r.com/mp3/2015/06/813-dick-cash-and-burger-pixelord-remix/#comments Thu, 25 Jun 2015 15:10:43 +0000 http://www.xlr8r.com/?p=94185 At the start of the month, Moscow-based imprint Hyperboloid—the label run by Acid Mafia, Pixelord, and Saburov—released the Body Race EP by "Russian superhero" 813. The EP consists of three glossy, hypercolor originals and a remix by label head Pixelord, who refits the hyperactive and poppy "Dick Cash And Burger" with a more club-focused framework, with rolling percussion skittering around underneath the overly shiny synth work up top. The EP was released on vinyl, with only seven of 100 left, and digital and both are available over at the Hyperboloid Bandcamp page, with Pixelord's remix of "Dick Cash And Burger" available as a free download below.

Dick Cash And Burger (Pixelord Remix)

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Drew Lustman, Throwing Snow, and Oneman Join HORST http://www.xlr8r.com/news/2015/06/drew-lustman-throwing-snow-and-oneman-join-horst/ http://www.xlr8r.com/news/2015/06/drew-lustman-throwing-snow-and-oneman-join-horst/#comments Thu, 25 Jun 2015 13:00:39 +0000 http://www.xlr8r.com/?p=94234 Following on from the first lineup announcement, HORST has added another list of highly regarded audio and visual artists, as well as a stage to be hosted by Red Bull Music Academy.

This wave of artists includes Drew Lustman (a.k.a. FaltyDL), Throwing Snow (live), Oneman, Romare (live), and Nickodemus, among others. HORST has also announced that highly regarded Flemish visual artists and architects Robbrecht & Daem will be designing a "pavilion as a sculpture in the green surroundings of the castle," forming the stage to be hosted by RBMA.

You can find more information on HORST—which takes place September 11 and 12—here.


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AnD AnD RMX 01/02 http://www.xlr8r.com/reviews/2015/06/and-and-rmx-0102/ http://www.xlr8r.com/reviews/2015/06/and-and-rmx-0102/#comments Thu, 25 Jun 2015 13:00:24 +0000 http://www.xlr8r.com/?p=94205 Late in 2014, the Manchester techno tyranny known as AnD put out its debut LP, Cosmic Microwave Background, on Speedy J's Electric Deluxe imprint. The release, a carefully laid-out collection of tracks that stirred the soul and shook the foundations of listeners with its penchant for powerful analog sequencing, was a shrewd, powerful reminder that techno is an ever-evolving presence.  So naturally, when it came time for the remix EPs to get sorted, the duo didn't opt for the most obvious choices to rework their already impactful music—they went a bit deeper, with choices such as Justin K Broadrick, Sleeparchive and Black Rain taking the reins and finding more caverns to explore.

The first of the two EPs has Speedy J and Lucy leading the charge under their Zeitgeber alias, working somewhat in reverse as to what AnD did with their original track. Instead, they tackled it in Zeitgeber style—by stripping it to its bare-bone structure, deconstructing its sequence of events into a dub-techno snowball which grows to an avalanche over an 11-minute run. The track is in stark contrast to Sleeparchive's forward-charging remix of "Power Spectrum." Evoking a cornucopia of his previous sonic endeavors, while begging it to be mixed with the likes of AFX's "Elephant Song," it shimmers brightly throughout its magnificent chaos, serving as the highlight of the first EP. O/H's remix of the same track follows, and while solid, doesn't change up that much from Sleeparchive's momentous rework.

The second EP starts with Broadrick molding his grooves onto "Non Sky Signal Noise," providing a slow-burning, industrialized skitter-bomb that contrasts nicely with the original track's organic matter. However, once Black Rain gets their hands on this material, the mood changes brilliantly. Between the exploratory, distorted, IDM gravitas on "The Surface Of Last Scattering" and dub-laden mischievousness on "Galactic Motion", Black Rain harkens back to a grizzled time in electronic music where the term bangers was subjective. These two mind-numbing remixes add complexities to the original material that let loose the crude curiosity that Black Rain exudes.

AnD already had a strong album to be proud of, which likely made the remixers' work a difficult process. Still, they've managed to provide a good-to-stellar exploration into the outer workings of the duo's tracks, while enhancing and furthering the listening experience to the original album with class and catharsis. It's a good thing when your remixers care—because this is what comes of it.

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Interview: Virgo Four's Merwyn Sanders http://www.xlr8r.com/features/2015/06/interview-virgo-fours-merwyn-sanders/ http://www.xlr8r.com/features/2015/06/interview-virgo-fours-merwyn-sanders/#comments Thu, 25 Jun 2015 13:00:00 +0000 http://www.xlr8r.com/?p=94165 If Merwyn Sanders knows that he’s one of Chicago house music’s most formative producers, he certainly doesn’t act like it. His work with Virgo Four spawned some of the genre’s most formative tracks, and yet still managed to carve out a sound that’s completely different from anybody else.

His career has been a bit of an odd one. The group we now know as Virgo Four—occasionally known simply as Virgo, not to be confused with the Marshall Jefferson project of the same name—was originally composed of two members, Merwyn Sanders and Eric Lewis. The two worked together in the late '80s, and stopped collaborating altogether around 1992. But in 2010, Rush Hour rereleased their 1989 album Virgo, and in 2011, put out a large collection of unreleased material, Resurrection. Virgo Four started to tour again, and it seemed as if Sanders and Lewis had come back together.

But in a 2013 Resident Advisor article, it was revealed that Merwyn Sanders and Eric Lewis had split two years earlier, and that Lewis had been touring as Virgo Four against Sanders' wishes. Lewis used his cousin as a replacement for Merwyn on vocals, guitar, and synths, and continued to use all the promotional materials that featured Merwyn’s name and face. It was only after the RA article was published that Eric updated the Virgo Four site to say: “The clock's rolled on and Merwyn's pursued a different musical path, but Eric and new recruit Terry Ivy are continuing the legacy without missing a step.”

Here, Merwyn Sanders finally gets to tell his side of the story, as he gears up for a live set under the Virgo Four moniker at New York's weekly Warm Up party at MoMA PS1.

Could you tell me a little bit about what goes into your live sets?
Everything is hardware. Instead of any backing tracks, I’m doing everything live through a guitar, groove boxes, synth modules, and drums machines. I tried a laptop, and I know a lot of people use Ableton Live now, but I didn’t feel that a laptop would encompass “live.” For this show, it’s actually going to be three people: My wife handling the drum machine and synth module; Aaron Rivera, who is great on bass and also plays synth; and then myself. I’ll be able to do all the other keyboard parts on my guitar, as well as the vocals.

merwyn sandersHow similar is that to the way you make music in the studio?
Back in the day, we were high school kids and we didn’t have a ton of cash so we got what we could. I started off with a Roland Juno 1, and then later on, Eric wound up getting the Juno 2 as well as the Roland 505 drum machine. We actually wanted more expensive gear—which is interesting, because now we’re associated with the sound of those old keyboards, and everybody is trying to get back to that analog sound. We didn’t use a sequencer very often, we were always sequencing through the drum machine. We would play our parts live and then just record it. Most of the tracks I did alone or by myself, and then maybe Eric would add another part later.

Could you talk about your vocals? A lot of live Chicago house vocals seem to draw from soul and gospel, but your vocals feel a lot more in line with U.K. new wave, particularly on songs like ‘Never Want to Lose You.’
“Never Wanna Lose” was my answer to Chicago Syndicate’s “Move Your Body.” My vocals ended up the way they did because I couldn’t sing. I had no formal practice or training, I was so into just the music aspect. I wanted to sing because I felt that it was a necessary part of music and performing. And the confidence wasn’t there too—singing is so much about confidence—and if you don’t feel good about how you sound, or how you’re singing, it’s not going to come out well. So what you’re hearing on that stuff is a young kid just not being the greatest singer—it’s that simple. But that’s where the style came from, from new wave music. I loved the way David Bowie sang, those kind of cool male vocals he would do.

Why do you think new wave resonated with so many people in Chicago at this time?
We just listened to so much music. What was happening with DJs at that time was you just used anything you could get your hands on, and play it like a house record. I think at the time the community listened to everything anyway—so when new music, like house music, was starting, it was going to be incorporating everything we grew up on. I remember one time I did a live remix of the Talking Heads track, “Once in a Lifetime.” I was watching that movie Down and Out in Beverly Hills and I’ll never forget. That track came on, and it hit me: That’s a house track!

Ron Hardy was somebody who spun a lot of new wave—could you talk about his influence on you?
Ron had a huge effect because he would do remixes in a way where you would just go wow! People were always saying, “Did you hear what he did with such and such?” And he was my favorite DJ for a while. One mix that really stands out was when he remixed Klein + MBO with “Let No Man Put Asunder." What he did with the vocals on that track really just opened my mind. He just made you think in a different way. For Frankie Knuckles, it was what he played, but for Ron Hardy, it was all about how he played it.I used to get tapes from friends, and then I met him personally before he passed away, to work on the track "It’s Hot."

You were working with Ron Hardy when he died?
He was working with Larry Sherman over at Trax Records to give his input on records for what would work or what wouldn’t. We had heard he was playing our demo of "It’s Hot." I was talking to Larry about putting it out, but then he arranged it so that Ron and I could meet up and talk about some things. Ron had some ideas, so we just met twice over at Trax Records. We would sit down, listen to the track, talk a little bit. I was just more interested in talking about other things, Music Box and all that. I wanted to talk about DJ stuff! Him and Frankie Knuckles were already local legends, so that’s what I wanted to talk about. And he was just a really cool laid back guy. He wasn’t walking around like “Oh, I’m Ron Hardy.” I thought that was really cool, really nice. But then right after, I heard he passed away, and that’s sort of why not much came after that.

“It’s Hot” didn’t wind up getting released until your Resurrection LP with Rush Hour in 2010, right?

How did you guys get set up with Rush Hour records?
Christiaan MacDonald was the label manager at Rush Hour at the time, and he reached out to me when he saw an article written by Jacob Arnold. He said he was interested in rereleasing the Virgo Four album, so I talked to Eric about it and he said, “Let’s do it, why not?” And that went over well, and he asked if we had any other music, and it was like “Yeah!” So we started telling him what we had, and he flew out to Chicago to sit down and go over everything. He just sat and listened, and picked and choose, and that’s how Resurrection came about.

One of the tracks that I think reintroduced you to a lot of people is "Fannie Likes 2 Dance," which was on Joy Orbison’s Essential Mix from last year. Could you talk about that track a little bit?
That track is actually a great example of me not being Virgo Four. I did that in 1999 as me—my other nickname Merle. The first line of lyrics started because I was trying to connect with people who like to dance a lot, like someone who’s in counseling for dancing. So that first line, “My name is Fannie and I like to dance a lot” is written from the place of somebody sitting in a circle at an Alcoholics Anonymous type thing confessing to people that they like to dance, and the rest of the lyrics followed.
I knew it sounded kind of weird, and I even asked a friend, “What do you think about this?” and he was like, “Yeah put it out!” So I went on and did it, and then no response—nothing, not a word. I didn’t hear anything.  So I had those records sitting around, and they started to get mixed in with my other records and I stopped caring about them. I probably resented them, they weren’t being taken care of, and I thought, “Why do I have 200 records sitting here?” I thought maybe I could resell the wax. I threw almost all of them out, but somehow that record lived on. And it just got repressed!

Vinyl records are something that’s essential to the DNA of Chicago House music—how do you feel your records being digitized?
I don’t like DJing with MP3s. I grew up DJing, and I still have my records, and still would prefer to DJ with vinyl. In terms of sharing my music, I’m not an analog purist. I think that’s technology changing growing in different ways. It just gives one more platform to share your music, and ultimately that’s what its about to me.

Is it possible that people might not talk about and remember Virgo Four the way they do unless these tracks had been digitized?
It’s true! And that’s how I try to imagine things.

Something that’s being talked about now is how some of the originators of house music are getting left behind—and there’s a larger issue, since Chicago House music was really important to the black and Latino gay communities.
It was a black and Latino gay community, but I think it was even larger than that. The community was really just about the music, and I think that’s part of what’s missing today. That left-behind thing is something that I talk about a lot with Rodney Bakerr of Rockin’ House Records. The audience doesn’t know that this history goes back 30 years, and people are forgetting about the place this all comes from. But I think there always will be somebody out there who tries to remember it, and tries to bring it back so it does live on.

"Ultimately, what I came to realize is that Virgo Four really is my music."

There’s so much misinformation about Virgo Four—can you clear the air and give everybody a clear idea of how everything went down?
I think if you really look at everything and follow my steps here and there, you can figure out what’s going on just by the music. The first thing is that people should know is that Virgo Four wasn’t our name. Larry Sherman put that on the record without telling us, and once the record was pressed up and printed, we had to go along with it. What else could we do? We weren’t going to not release our first record because we wanted to protest a name change.
The reason he called us Virgo Four was to get the name recognition from the Virgo tracks that Vince Lawrence, Marshall Jefferson and Adonis collaborated on. They did three records as Virgo, so Larry pressed us as Virgo Four. It was decided later with Rush Hour to keep using Virgo Four, because that’s what it was originally released as. But after that, I decided I wanted to split. Most of the Virgo Four stuff was solely me anyways, so I wanted to break away from Eric and just do my own thing. Eric had other ideas that I didn’t want to do, and so after we released Resurrection with Rush Hour, I stopped wanting to perform as Virgo Four.
But ultimately, what I came to realize is that Virgo Four really is my music. People know it as Virgo Four so that’s kind of my legacy. I was never walking away from the music, I was trying to walk away from that name. But, over the past couple of years, I’ve come to realize that people associate my music with that name. That’s why I’ve come back around to doing the Virgo Four tracks.
It’s even weird for me to say “the Virgo Four tracks,” because it’s me. Sometimes people talk to me about Virgo Four in the third person, and it’s strange, because for me it's like…you’re talking about me, Merwyn! I was just trying to be Merwyn, but then I came to realize that people are associating my music with Virgo Four, so I realized maybe I should just embrace it. A lot of people had been encouraging me, “Merwyn, that’s your music, and people know it as Virgo Four—don’t push it away, that’s you!”

Merwyn Sanders, along with Nicky Siano, Cut Copy, Galcher Lustwerk, DJ Richard, and Bobbito Garcia plays Saturday July 4th at MoMA PS1’s Warm Up series.

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XLR8R Event Selections: Robert Johnson, AIM, YAAASSS http://www.xlr8r.com/news/2015/06/xlr8r-event-selections-robert-johnson-aim-yaaasss/ http://www.xlr8r.com/news/2015/06/xlr8r-event-selections-robert-johnson-aim-yaaasss/#comments Thu, 25 Jun 2015 11:00:38 +0000 http://www.xlr8r.com/?p=94235 This weekend, the legendary Frankfurt club Robert Johnson celebrates 16 years with Nina Kraviz, Roman Flügel and Boddika on Friday, and another big lineup with Dixon, Recondite, Gerd Janson, and more on Saturday.

Also this weekend, the inaugural edition of the Montreal AIM Festival will go from Friday until Sunday while taking place at a historic Quebec site on the waterfront 45 minutes outside of Montreal. Lineup includes Four Tet, Kevin Saunderson, Axel Boman, Martin Buttrich, and other international acts, in addition to some of Canada's finest.

In Los Angeles, Firehouse founder and former Hercules and Love Affair vocalist Kim Ann Foxman will play alongside Edu Imbernon at the new forward thinking club series YAAASSS, as co-founder Chealsea Morrisey explains it "a you-be-you house music dance hub that doesn't take itself too seriously except for when it comes to quality of booking".


A Club Called Rhonda, Toronto, Canada
Rhonda Toronto
Robert Owens, Little Boots, Honey Soundsystem…


YAAASSS, Los Angeles, CA, USA
Yaaasss LA
Kim Ann Foxman, Edu Imbernon…

Finest Friday, Berlin, Germany
Tom Demac, Cedric Maison, House of Black Lanterns…

Psycho Disco | on The Roof, Brooklyn, NY, USA
Treasure Fingers, Chordashian, Matt FX...

16 Years Robert Johnson, Frankfurt, Germany
Nina Kraviz, Roman Flugel, Boddika…

- Perpetual Dawn -, Los Angeles, CA, USA
Kid606, Leech…

Sanctuary One, Los Angeles, CA, USA
Paul T, DJ Osamu…

Montreal AIM Festival 2015, St-Andre d Argenteuil, Canada
Tesla Boy, Four Tet…

Flash, Washington, DC, USA
Axel Boman, Dansman…


16 Years Robert Johnson, Frankfurt, Germany
RJ 16 years
Dixon, Recondite, Gerd Janson…

CSD Klubnacht, Berlin, Germany
Starlight & Surgeon, Scuba, Steffi, Virginia…

Montreal AIM Festival 2015, St-Andre d Argenteuil, QC, Canada
Axel Boman, Kevin Saunderson, MightyKat, Tiga…

Flash, Washington, DC, USA
Robag Wruhme…


Montreal AIM Festival 2015, St-Andre d Argenteuil, QC, Canada
Pachanga Boys, Martin Buttrich, Electro Acrylique…

Sundays on The Roof, Brooklyn, NY, USA
Wolf+Lamb, Night Class…

The Panther Room, Brooklyn, NY, USA
Axel Boman…

Piknic Electronik, Montreal, Canada
Floating Points, Chuck Fever b2b Max Hebert…

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MELT! Announces Running Order http://www.xlr8r.com/news/2015/06/melt-announces-running-order/ http://www.xlr8r.com/news/2015/06/melt-announces-running-order/#comments Thu, 25 Jun 2015 00:53:03 +0000 http://www.xlr8r.com/?p=94226 Kicking off next month, Berlin's MELT! Festival has announced its running order, which you can check out here.

This years edition will also be completely cashless, with attendees instead topping up scannable wristbands. In a stance against fraud and ticket scalpers, MELT! has also introduced "Festival Accounts," where you manage your purchased tickets and festival wristbands—which can be topped up with money at home, or at "cashless" venders at the festival.

More information on MELT! can be found here.


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Download a Free Album From Nicolas Jaar http://www.xlr8r.com/news/2015/06/download-a-free-album-from-nicolas-jaar/ http://www.xlr8r.com/news/2015/06/download-a-free-album-from-nicolas-jaar/#comments Thu, 25 Jun 2015 00:09:55 +0000 http://www.xlr8r.com/?p=94228 Today, Nicolas Jaar surprised fans when he released a 20-track album for free via his Facebook page. The album, titled Pomegranates, was accompanied by a note from Jaar explaining the origins of the tracks on the album and the eerie connections to the film by the same name. Jaar also included artwork and photos in the downloadable package, which you can download for free here.

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Premiere: Hear Zed Bias Remix Jabru and Joel Culpepper's "Church" http://www.xlr8r.com/news/2015/06/premiere-hear-zed-bias-remix-jabru-and-joel-culpeppers-church/ http://www.xlr8r.com/news/2015/06/premiere-hear-zed-bias-remix-jabru-and-joel-culpeppers-church/#comments Wed, 24 Jun 2015 19:34:28 +0000 http://www.xlr8r.com/?p=94136 On June 29, DJ-Kicks will release its next 12" bundle, continuing the tradition to pack up tracks exclusively premiered through their renowned mix series. This time around it will be AUS Music founder Will Saul, who curates a beautiful remix package for Jabru and Joel Culpepper's "Church," and Saul's own collaboration with Komon titled "Two For One."

The 12" follows on from John Talabot’s Without You—which featured remixes from Melchoir Productions Ltd, Oskar Offermann, and Mistakes Are O.K—with reworks from AUS favorite Appleblim and the one in question here from Zed Bias. Bias turn his hand to "Church," outfitting it with a booming 808 groove and deftly layering Culpepper's crooning vocals on top. It's a beautifully rolling cut, topping off a release that further shows Sauls curation skills.

You can stream Zed Bias' remix of "Church" in full below, with the full release available June 29 via DJ-Kicks.


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Premiere: Watch a Video for Slam and Gary Beck's "Pressure Lights" http://www.xlr8r.com/news/2015/06/premiere-watch-a-video-for-slam-and-gary-becks-pressure-lights/ http://www.xlr8r.com/news/2015/06/premiere-watch-a-video-for-slam-and-gary-becks-pressure-lights/#comments Wed, 24 Jun 2015 16:39:49 +0000 http://www.xlr8r.com/?p=94127 On June 29, Glasgow techno duo Slam will release a new compilation called Transmissions: Glasgow, paying tribute to their home city's electronic music scene.

Slam team up with fellow Glasgow techno luminary Gary Beck for the lead single, "Pressure Lights," a further nod to the city and its premier party 'Pressure'—also run by Slam and Soma. The slamming, body-moving "Pressure Lights" has now been cut to equally devilish visuals by visual artist and filmmaker Simone Smith.

You can check out the video for "Pressure Lights" in full below, with Transmissions: Glasgow available for purchase here.

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Aurora Halal to release Shapeshifter EP on Mutual Dreaming Recordings http://www.xlr8r.com/news/2015/06/aurora-halal-to-release-shapeshifter-ep-on-mutual-dreaming-recordings/ http://www.xlr8r.com/news/2015/06/aurora-halal-to-release-shapeshifter-ep-on-mutual-dreaming-recordings/#comments Wed, 24 Jun 2015 15:30:39 +0000 http://www.xlr8r.com/?p=94060 The Brooklyn-based musician, video artist, and event producer Aurora Halal will release her sophomore EP, Shapeshifter, on June 30 via her own Mutual Dreaming Recordings.

Halal is the creator and curator of the subterranean party series Mutual Dreaming, a raw DIY dance utopia and record label that was birthed out of Aurora's necessity to play her music in front of a more open and discerning audience. Aurora will follow up last year's out-of-stock Passageway EP, with the forthcoming Shapeshifter EP, a release that is full of shimmering waves of dark hypnotic energy, all brought to life by Halal's nuanced and rapidly evolving sound design. The record includes five tracks that will be released on a 140 gram 12" vinyl, and a digital version of the track 'Death of Real' will be available for purchase online as well.

Along with co-creator Zara Wladawsky, the two are also preparing the 2015 edition of Sustain-Release, a 500-person music and arts festival taking place on Camp Lakota in Upstate, NY this September. The communial camping event will include performances by Kassem Mosse, Anthony Parasole, and The Black Madonna.

You can purchase the "Shapeshifter" EP on Juno Records by clicking here, and you can find out more about Sustain-Release by checking out their website.

A1. Shapeshifter
A2. Death of Real
B1. Sunlight
B2. Sleep Distortion
B3. Just Tell Me
Digital Only: Death of Real (Version)

Due June 30, 2015

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Kito Jempere "Monday" http://www.xlr8r.com/mp3/2015/06/kito-jempere-monday/ http://www.xlr8r.com/mp3/2015/06/kito-jempere-monday/#comments Wed, 24 Jun 2015 15:00:15 +0000 http://www.xlr8r.com/?p=94110 Last week, St Petersburg-based producer and DJ Kirill Sergeev (a.k.a. Kito Jempere) made his Let’s Play House debut with his Amended Wonders EP. The four-tracker arrived on the NYC label with three chunky originals from Sergeev, with the digital bonus track "Kiya Kiya" receiving an organic re‐imagining from Lobster Theremin affiliate Palms Trax. In support of the release, XLR8R has been gifted the brilliant B-side cut "Monday," which displays the Russian producers stripped-back, driving production style, with thumping drums and infectious hooks leading the way. "Monday" can be downloaded for free below, with the full EP available over at the Let's Play House Drip FM, or Juno.


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Nachtdigital Preps Compilation with Luke Abbott, Mix Mup, and More http://www.xlr8r.com/news/2015/06/nachtdigital-preps-compilation-with-luke-abbott-mix-mup-and-more/ http://www.xlr8r.com/news/2015/06/nachtdigital-preps-compilation-with-luke-abbott-mix-mup-and-more/#comments Wed, 24 Jun 2015 14:28:23 +0000 http://www.xlr8r.com/?p=94152 German festival Nachtdigital is approaching its 18th anniversary, and this year, organizers have put together a V/A compilation that features just a few of the many artists set to appear. Entitled Super Various, the four-tracker includes exclusives from Border Community fellow Luke Abbott, Kassem Mosse collaborator Mix Mup, Noise Manifesto affiliate rRoxmore, and Polish DJ Chino. Festival attendees can purchase the limited-edition 12" on site the weekend of July 31, and it will also be stocked at select retailers, including the Nachtdigital web store, Clone, and Smallville. Stream samples of the EP's four cuts below, and for details on this year's festival, head here. (via Resident Advisor)

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Get Familiar: Patlac http://www.xlr8r.com/features/2015/06/get-familiar-patlac/ http://www.xlr8r.com/features/2015/06/get-familiar-patlac/#comments Wed, 24 Jun 2015 13:00:55 +0000 http://www.xlr8r.com/?p=94067 I meet Patlac, one of deep house’s rising talents, on what is perhaps the hottest day of the Berlin summer so far. Fresh off the train from Hamburg—he’s in town for a gig taking place later on that night—we join up in the Kreuzberg neighborhood, where the streets are buzzing with energy and people are basking under the sunlight. Looking for a quiet spot outside to have our chat and to join in on the celebration of summer, we settle on the lawn in front of the famous East Side Gallery by the river, beers and cigarettes in hand.

Born in Berlin and raised in a small town outside of Hamburg, the producer (born Patrick Müller) recalls growing up in a very musical household. “Music was always flowing out of every corner of our home,” he says. “My father used to always have the radio on and would play records by artists like the Beatles and the Rolling Stones.” He accounts his taste for electronic music to shows like the Berlin House TV show and the Love Parade: “When I was a bit older, I started watching these shows or listening to radio stations like Radio Fritz," he recalls, "and suddenly I saw myself becoming more and more interested in this music. It was funny because when you saw this Love Parade thing you didn’t really understand what was going on.” It was then that he decided to buy his first records, insisting he remained quite clueless about the underground music scene for a while: “Everything was so removed from us. It was the music from the big cities but we were not educated—we didn’t know what was happening or what the real underground scene in Berlin was.”

Müller’s entry into the scene was far from seamless: “At one point, I met a friend of mine who knew how to mix records and showed me how to do it," he says. "I remember standing there all the time trying to mix two records together—sometimes I would stand for 10 hours—just trying. After that, I just wanted to do it all the time.” A few years later, Müller started DJing house parties alongside other friends, before moving to set up his first DJ collective and throwing regular parties at a neighborhood bar. During this time, he adopted the nickname Patlac—a name that he inherited after a friend drunkenly tried to call out for him and all he could manage to pronounce was the name that Müller would later be professionally known as.

It is a longstanding friendship with fellow DJ and producer Matthias Meyer that led Müller to produce his own tracks. Their first coproduced EP, Salt City Skipper, was released on Hamburg label Liebe*Detail in 2008, sparking an ongoing spree of collaborations. Müller and Meyer's longstanding friendship and natural chemistry unmistakably stands out in their work. “I think it’s nothing special,” he laughs when prompted on his relationship with Meyer. “The first point is that we like the same type of music. When we used to meet more regularly to play together, I didn’t know what records he would bring and he didn’t know mine but somehow it all fit. We understand each other and I think that’s what’s most important, especially when it comes to producing.” Both artists seem to complement each others' efforts, and the synergy has naturally resulted in their success. Remixes, such as Dilo’s "21st Century Fox" track, have garnered the support from the likes of Hamburg heavyweight Solomun. “In our case, I believe Matthias is really the main producer," Müller says. "I’m not the type of guy that can sit there for ten hours straight trying to fix every little detail. Matthias, he’s the complete opposite. He can spend months thinking 'is this the right bass drum?'. In this way I think it’s really cool to work with him—I trust him absolutely in his sound and skill as a producer.” He takes a few cigarette drags, adding: “I’m not trying to say I’m the creative one in this pairing either, but I’m perhaps more on the DJ/listener side. That’s how we bounce ideas off each other.”

It's certainly no secret that some of the best acts in the electronic music scene hai from Hamburg: Kollektiv Turmstrasse, Lawrence and DJ Koze, along with an array of up-and-coming artists, give the city a reputation as a hub for musical talent. Perhaps the reason behind this is Hamburg’s own melancholic beauty. A port city, it is easy to see where these artists draw their inspirations from, with the ocean radiating with its vastness against every backdrop. “I don’t really know what it is about Hamburg, I can’t quite explain it,” Müller says. “Maybe it has to do with the harbor and this melancholic wide open feeling, the north being colder, there’s ‘inside things’ going on with people.” He continues, “Or maybe it’s because there’s less pressure to be somebody there—everything is more relaxed. It’s really easy to live there,” comparing Hamburg to a city like Berlin, with its lurking omnipresence of big-name clubs and artists.

Müller's works possesses a profoundly melodic element, describing his own productions as “forward-moving grooves with a touch of melancholia…but I don’t know exactly! I just like the idea of emotions mixed within the grooves.” It's his sensitive approach to the craft that makes the Hamburg producer's music so compelling; his productions possess a depth that speaks to the soul, but remain vibrant on the dancefloor. The music conveys not only a message, but also have the ability to transport listeners to an emotional and spiritual space, and this delicate approach is perhaps the essence of what makes him such a standout and exceptional producer. “In the beginning of this hard-techno phase, I started noticing guys like Ian Pooley or the whole Poker Flat thing, and I would use their tracks but play them really fast. I liked them because it was different from the super-hard techno stuff—they had different melodies that were less strong or aggressive, and even sunny at times, and I started to really like that. I think that’s when my direction in sound started stirring.”

Patlac 2As a DJ, Müller is inclined to improvise and innovate. “During a set, I play for the people but I also play for me—I don’t want to get bored! I feel more like a DJ—that’s what I’ve always wanted to do, to play records from all these great artists and mix it all together and create something new in the mix, telling a story.” His sets effectively manage to remain vigorous and dance driven, yet find a way to speak to the heart. He says that to this day he can feel his techno background coming back to the surface. “It’s just a familiar sound and environment I’m really comfortable with. I’ve started trying to incorporate that in my sets, always alternating back and forth between that sound and tracks with softer melodies and emotions.”

Besides his own productions, Müller is possibly better known for his remixes, which have been released on labels including Liebe*Detail, Pets Recordings, Musik Gewinnt Freunde, and Noir Music. “I’m a fan of remixes. I’m way more comfortable with getting material from somebody and thinking about what I should do with this material. Maybe that’s my way into the production thing.” Those remixes have certainly earned him a great deal of praise and recognition. Interestingly, he expresses the many obstacles when dealing with original productions: “It’s hard to explain, really," he says. "When I think of all the productions I did, sometimes I just don’t know how I did it. There’s a lot of trial and error,” he continues, before explaining that the mistakes he makes in the studio often end up being part of the final production result once he has allowed them to breathe for a while. “When I’m in the studio I play around—and in the end there’s always 80 percent bullshit, and 20 percent is OK. That’s why I don’t want to call myself a producer, because sometimes it’s really hard for me to express my ideas in my productions.”

These days he’s a resident DJ at local hotspot Villa Nova in Hamburg and is constantly on the move, with performances around the globe in venues ranging from Berlin’s Watergate to the BPM Festival in Mexico. “It’s a strange situation when people recognize my name everywhere," he says. "I always think to myself, ‘Have we met before?’ My mom asks me all the time what it is that I do. She says ‘But don’t they have DJs in that city where you’re going? Why do you have to go all the way there?' It’s hard to explain what it is that we do. I’m just really proud to be able to do this and to be able to live from the music—it’s a dream! I hope it continues, because everything is just perfect right now.”

In this day and age’s ceaseless expansion of the electronic music scene, the motivations to become ‘someone’ often trump the organic desire to create—but not for Müller. “I’m not the type of guy to have a master plan," he says. I don’t think to myself, maybe if I do a collaboration with so and so, it will help me get ahead. I really want to grow slowly because it’s all still a learning process for me.” His humility and love for his craft are felt throughout his music, and his own ambitions as an artist remain untouched: "The focus has never been to be famous, [but rather] I want to do it and do it well and be proud of myself. It’s a new situation that people know my name in all these countries and cities and have them wanting me to come over and play. It’s a big honor!”

Choosing quality over quantity, he remains happy with the opportunity to perfect his art, one of the reasons why his releases aren’t as frequent as one would expect. Nevertheless, he emphasizes his plans on shifting the focus towards his solo work—which does not go to say that there won’t be any future collaborations involving both old and new friends. Whatever the case, he isn't going unnoticed—and we can’t wait to see what the future has in store for him.

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Watch a Video for Helena Hauff's Debut LP on Werkdiscs http://www.xlr8r.com/news/2015/06/watch-a-video-for-helena-hauffs-debut-lp-on-werkdiscs/ http://www.xlr8r.com/news/2015/06/watch-a-video-for-helena-hauffs-debut-lp-on-werkdiscs/#comments Wed, 24 Jun 2015 08:48:14 +0000 http://www.xlr8r.com/?p=94147 Yesterday, Helena Hauff announced that her first proper full-length, Discreet Desires, would land on Actress' Werkdiscs label in September. The Hamburg-based techno producer and Golden Pudel resident debuted on the imprint two years ago with the Actio Reacto EP, and her hardware-driven, acid-indebted productions have since appeared on Lux Rec, Handmade Birds, Panzerkreuz and PAN as one half of duo Black Sites.

Discreet Desires will see an official release on September 4, and until then, the LP's complete tracklist has been posted below, where a video for lead single "Sworn to Secrecy Part II" is also on view. (via Resident Advisor)

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Shackleton, Varg, and Shed Added to Berlin Atonal Lineup http://www.xlr8r.com/news/2015/06/shackleton-varg-and-shed-added-to-berlin-atonal-lineup/ http://www.xlr8r.com/news/2015/06/shackleton-varg-and-shed-added-to-berlin-atonal-lineup/#comments Tue, 23 Jun 2015 22:48:51 +0000 http://www.xlr8r.com/?p=94096 Berlin Atonal—which takes place at Kraftwerk Berlin, August 19-23—has added a whole host of world premieres and live acts to the 2015 bill.

The new additions include Shackleton, who will be premiering a new live show titled Powerplant, Varg, who will be performing as Ivory Towers with Body Sculptures and Frederikke Hoffmeier, and Shed, who will be premiering an all new live audio/visual show. Also on this years lineup will be Powell, Regis, Clock DVA, and a Northern Electronics showcase.

You can check out the full lineup below, with more information available here.


Shackleton presents: Powerplant [Live] - World Premiere Varg presents: Ivory Towers with Body Sculptures + Frederikke Hoffmeier [Live A/V] Paul Jebanasam + Tarik Barri present Continuum [Live A/V] - World Premiere Clock DVA [Live A/V] Shed [Live A/V] - World Premiere Lustmord [Live A/V] Powell [Live] Skarn [Live] Regis COH & FRANK [Live A/V] Peder Mannerfelt [Live A/V] Head High Talker [Live] Northern Electronics showcase: Abdulla Rashim presents Lundin Oil [Live A/V] Varg [Live A/V] Puce Mary [Live A/V] Acronym [Live A/V] Vit Fana [Live A/V]
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Character "Infidel" http://www.xlr8r.com/mp3/2015/06/character-infidel/ http://www.xlr8r.com/mp3/2015/06/character-infidel/#comments Tue, 23 Jun 2015 21:27:43 +0000 http://www.xlr8r.com/?p=94068 At the start of the month, LA-based electronic artist Character released his debut EP via London label Hard Up. The six-track EP traverses a wide range of sounds and moods and is "driven by a frenzied, insulated energy." Instrumental hip-hop beats sit alongside industrial-tinged textures, topped off with thick, ambient soundscapes. Pulled from the EP is "Infidel," a slamming cut driven by tightly wound drum sequences, otherworldly samples and synth work, and a wall-shaking bassline. You can grab "Infidel" for free below, with the limited run vinyl available here. The digital release drops on July 6 and can be preordered here.


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Premiere: Stream Feral Cuts Vol. 2 http://www.xlr8r.com/news/2015/06/premiere-stream-feral-cuts-vol-2/ http://www.xlr8r.com/news/2015/06/premiere-stream-feral-cuts-vol-2/#comments Tue, 23 Jun 2015 19:33:12 +0000 http://www.xlr8r.com/?p=93990 Last week, Bad Animal released Feral Cuts Vol. 2, featuring tracks from Xosar, Prof. Delacroix (otherwise known as Deepblak label head, Aybee), Lando, and newcomer Jamaica Suk.

The release is presented as a sampler of "Bay Area to Berlin," with all four artists making the move from California's Bay Area to Berlin. Like its predecessor, Feral Cuts Vol. 2 delivers four tracks of analog-driven funk, with heavy, drum-machine rhythms and fuzz-filled synths being the order of the day.

You can stream Feral Cuts Vol. 2 in full below, with the vinyl available for purchase here and the digital to follow on July 15.

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Adam Beyer and Henrik Schwarz Join Barcelona's DGTL Festival http://www.xlr8r.com/news/2015/06/adam-beyer-and-henrik-schwarz-join-barcelonas-dgtl-festival/ http://www.xlr8r.com/news/2015/06/adam-beyer-and-henrik-schwarz-join-barcelonas-dgtl-festival/#comments Tue, 23 Jun 2015 18:46:00 +0000 http://www.xlr8r.com/?p=94054 Adam Beyer and Henrik Schwarz are the last names to be added to the first edition of DGTL Festival Barcelona. The pair join previously announced headliners Maceo Plex, Ben Klock, Marcel Dettmann, Âme, John Talabot, George FitzGerald and Job Jobse.

The festival will take August 14 and August 15 at Parc Del Fòrum, Barcelona, with tickets available here; along with the full lineup below.


Agoria (FR) Adam Beyer (SWE) Alfonso (ES) Âme [DJ] (DE) Awwz (ES) Baldo presents BLD [live] (ES) Begun (ES) Ben Klock (DE) Boddika (UK) Breach (UK) David August [live] (DE) DB (ES) De Sluwe Vos (NL) Diego Gamez (ES) DJ Fra (ES) Dixon (DE) George FitzGerald (UK) Ginebra (ES) Henrik Schwarz (DE) Jade (ES) Job Jobse (NL) John Talabot (ES) Joseph Capriati (IT) Kosmos (ES) Maceo Plex (US) Marcel Dettmann (DE) Miguel Puente (ES) Paco Osuna (ES) Pau Roca (ES) Paul Ritch (FR) Pearson Sound (UK) Ryan Elliot (US) Shall Ocin (ARG) Tom Trago (NL) Undo (ES) Worakls [live] (FR)
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DJ Koze "XTC" http://www.xlr8r.com/reviews/2015/06/dj-koze-xtc/ http://www.xlr8r.com/reviews/2015/06/dj-koze-xtc/#comments Tue, 23 Jun 2015 17:52:42 +0000 http://www.xlr8r.com/?p=94044 The inimitable DJ Koze has followed up his critically acclaimed 2013 album, Amygdala, with the masterful, dreamlike “XTC”, released on his own Pampa Records. As the title of the track suggest, there’s a blissfulness to “XTC”, starting off with airy synth pads wafting over a gentle kick, slowlying intensify and rewarding the listener over the course of the eight-minute sonic journey.

Using the simplest of elements to create a deep entrancing mood, Koze eschews much of the playfulness typical of his productions, instead gradually transitioning the track from a sweet celestial slow-burner into a demanding serotonin come-down. Around the three-minute mark of the track, a pitched-down robotic female voice is introduced with a sedated and deadpan spoken-word snippet, “I heard you say once that a lie is sweet in the beginning and bitter in the end, and truth is bitter in the beginning and sweet in the end.” Sharp hi-hats begin to cut through the haze and the repeating chord progression tightens as the voice continues, “Is the drug like the lie and meditation the truth, or am I missing something that could really help me?”

We don’t get a definitive answer from Koze to the question posed—the Hamburg-based producer has deployed his tactics on the listener by forcing them to turn within and find the answer, with this gorgeous atmospheric track shimmering onwards.

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Blondes Release Rein, a 50-Minute Recording; Stream it Now http://www.xlr8r.com/news/2015/06/blondes-release-rein-a-50-minute-live-recording/ http://www.xlr8r.com/news/2015/06/blondes-release-rein-a-50-minute-live-recording/#comments Tue, 23 Jun 2015 16:55:40 +0000 http://www.xlr8r.com/?p=93985 NYC duo Sam Haar and Zach Steinman (a.k.a. Blondes) have released a 50 minute "audio collage" titled "Rein," available today as a limited edition cassette via RVNG Intl.

"Rein" is the result of a weekend long studio binge preceding the development of the duo's new 12", Persuasion, which is due to arrive in August and will be the first offering of new tracks since Swisher. The 50 minute "Rein" offers up "aleatory techno and almost gentle jams informed by the relational feedback between Haar and Steinman, Rein samples the elements conjured for Persuasion and shows a blueprint for the EP’s troika of tracks."

You can hear the immersive recording in full via the player below, with the cassette available for purchase here.

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Dam-Funk Preps New Album for Stones Throw, Shares Track http://www.xlr8r.com/news/2015/06/dam-funk-preps-new-album-for-stones-throw-shares-track/ http://www.xlr8r.com/news/2015/06/dam-funk-preps-new-album-for-stones-throw-shares-track/#comments Tue, 23 Jun 2015 16:05:42 +0000 http://www.xlr8r.com/?p=94028 On September 4, LA's "Ambassador of Boogie Funk" Dam-Funk will return for his first solo album in nearly six years, Invite the Light, out September 4 via Stones Throw.

Invite the Light is, in Dam-Funk's words, his first fully-realized body of work, a “concise, beginning-to-end vision.” According to the accompanying text, Invite the Light is a loose autobiographical concept album centred around "the trials and tribulations of his personal and professional life of the last six years." As always, Dam-Funk has handle all the production, slotting guest artists including including Q-Tip, pop artist Ariel Pink, Snoop Dogg, the father-son duo of Leon Sylvers III & IV, and funk giant Junie Morrison of the Ohio Players.

Invite the Light can be preordered digitally on iTunes—with a free download of "We Continue" included—or the vinyl can be preordered via the Stones Throw website. You can also stream "We Continue" in full below, along with a tracklisting and upcoming tour dates.


1. Junie’s Transmission [Feat. Junie Morrison]
2. We Continue
3. Somewhere, Someday
4. I’m Just Tryna’ Survive (In The Big City) [Feat. Q-Tip]
5. Surveilliance Escape
6. Floating On Air
7. HowUGonFu*kAroundAndChooseABusta’?
8. The Hunt & Murder of Lucifer
9. It Didn’t Have To End This Way
10. Missung U
11. Acting [Feat. Ariel Pink]
12. O.B.E.
13. Glyde 2nyte [Feat. Leon Sylvers III & IV
14. Just Ease Your Mind From All Negativity [Feat. Snoop Dogg]
15. Virtuous Progression [Feat. JimiJames, Kid Sister, Nite Jewel, Novena Carmel & Jody Watly]
16. Scatin’ (Toward The Lgiht)
17. Junie’s Re-Transmission [Feat. Junie Morrison]
18. I’m Just Tryna’ Survive (In The Big City) Party Version [Feat. Q-TIp]
19. ‘Kaint Let ‘Em Change Me
20. The Acceptance

Dam-Funk Live Band Tour Dates:

Fri 9/04 || San Diego, CA || The Casbah
Sat 9/05 || Los Angeles, CA || Teragram Ballroom
Sun 9/06 || San Francisco, CA || The Independent
Tues 9/08 || Portland, OR || Doug Fir Lounge
Thurs 9/10 || Vancouver, BC || Venue
Sat 9/12 || Jackson, WY || Pink Garter Theatre
Sun 9/13 || Salt Lake City, UT || Urban Lounge
Tues 9/15 || Denver, CO || Cervantes
Wed 9/16 || Albuquerque, NM || Sister
Fri 9/18 || Las Vegas, NV || Bunkhouse Saloon

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Podcast 392: Youandewan http://www.xlr8r.com/podcasts/2015/06/podcast-392-youandewan/ http://www.xlr8r.com/podcasts/2015/06/podcast-392-youandewan/#comments Tue, 23 Jun 2015 15:21:05 +0000 http://www.xlr8r.com/?p=93946 Next month, Ewan Smith unleashes his newest clubland opus, the Verloren EP, upon the world via the ever-reliable Aus Music. We can happily report that it's another fine offering from the man known to the world as Youandewan, with its three cuts of depth-charge four-to-the-floor material nicely complimented by a rough-and-ready percussive version of the title track from Ilian Tape's Dario Zenker. The upcoming release gives us a a good excuse to ask the Berlin-based Brit to put a mix together for XLR8R…but, really, one hardly needs a reason when it comes to Youandewan. He's been at the top of his game ever he got in the game in the late '00s, via a series of deep, subdued and often downright sexy house and techno releases for the likes of Lo:Rise, secretsundaze, Hype LTD and, for the past few years, Aus, making nary a wrong move over that time period. Verloren will undoubtedly be another step up the career ladder for the producer, and we feel the same way about this podcast—it's a patiently building set of tunes, with stripped-down rhythms slowly giving way to emotive warmth and gorgeous vibes. Added bonus: You can get a sneak preview of one of the new EP's cuts, "253," about a third of the way through the mix.

00 Intro
01 Vermittelnde-Elemente "Moledom" (Ricardo Villalobos mix) (Lo-Fi Stereo)
02 Mark Ambrose "Greetings From Madame Dominique" (Mosaic)
03 Jean Caffeine "Jean's Afterthought" (Classic)
04 S. Moreira "Late Dawn" (Slow Life)
05 Youandewan "253" (Decent Mix) (Aus)
06. Nick Holder - "Swimming" (instrumental mix) (NRK)
07 Crustation "Flame" (Mood II Swing Borderline Insanity Dub Mix) (Jive)
08 Herbert featuring Dani Siciliano "Never Give Up" (Phonography)
09 Moodymann featuring Bilal "Restart" (KDJ)
10 Steve Huerta & Gene Arthur "Damn Shame" (dub)
11 Needs "Brother" (Original Vibe) (Needs Music)

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Premiere: Watch Green Velvet's Stay True Scotland Boiler Room Set http://www.xlr8r.com/news/2015/06/premiere-watch-green-velvets-stay-true-scotland-boiler-room-set/ http://www.xlr8r.com/news/2015/06/premiere-watch-green-velvets-stay-true-scotland-boiler-room-set/#comments Tue, 23 Jun 2015 15:19:51 +0000 http://www.xlr8r.com/?p=93993 At the start of the month, Boiler Room and Ballantine's teamed up for Stay True Scotland, a four venue extravaganza—and Edinburgh's Boiler Room debut—featuring performances by Nina Kraviz, Len Faki, Speedy J, Blawan, Planetary Assault Systems, Gary Beck, Optimo, Underground Resistance presents: Timeline, and the one in question here by Green Velvet.

Stay True Scotland was Boiler Room's biggest show to date, with 16 artists performing across four venues, simultaneously. Green Velvet's set—which took place alongside Underground Resistance presents: Timeline, Optimo, and Neil Landstrumm—can be streamed in full below.

Green Velvet by brtvofficial

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Hudson Alexander "So Many Things (Perfume Advert Remix)" http://www.xlr8r.com/mp3/2015/06/hudson-alexander-so-many-things-perfume-advert-remix/ http://www.xlr8r.com/mp3/2015/06/hudson-alexander-so-many-things-perfume-advert-remix/#comments Tue, 23 Jun 2015 15:00:28 +0000 http://www.xlr8r.com/?p=93996 We last heard from Hush Hush Records at the start of the month when we offered up Banku's "Mothball." Now, the fast-rising imprint is back with the latest EP by Toronto-via-Winnipeg electronic music producer Hudson Alexander. The two originals on offer—"Needs" and "So Many Things"—find Alexander steering away from his downtempo past into more dancefloor-focused territory, replacing the mellow soundscapes with crisp, club-ready beats. The EP also includes three diverse reworks from London’s Keenya, Wisconsin-based Chants, and the one in question here from 1080p affiliates Perfume Advert, who provide a groovy, stripped-back rework of "So Many Things." You can download Perfume Advert's remix below, with the full EP available on July 10.

Hudson Alexander - So Many Things (Perfume Advert Remix)

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Full Moon Fest Details Announced http://www.xlr8r.com/news/2015/06/full-moon-fest-details-announced/ http://www.xlr8r.com/news/2015/06/full-moon-fest-details-announced/#comments Tue, 23 Jun 2015 14:50:46 +0000 http://www.xlr8r.com/?p=94007 Crew Love, headed up by the Wolf + Lamb and Soul Clap duos, are back on Saturday, August 1 with the fifth edition of the annual Full Moon Fest—and far from running out of steam after a half decade of groovesome fun, the shindig looks to be stronger than ever. Teaming up with MATTE Projects, the crew is moving the affair to a great-sounding new locale, the lush pop-up party space Brooklyn Mirage, complete with tropical flora, cloud misters, a selection of food vendors and, apparently, beach sand imported from the South of France. But as always, it's the music that makes these kinds of get-togethers work, and this year's Full Moon Fest doesn't disappoint, with Tensnake and Yelle leading the way on the main stage, which also features sets from RÜFÜS DU SOL, Oliver Nelson, MOTHXR, and the Kite String Tangle. Then there's the Crew Love stage itself, which—besides Wolf & Lamb and Soul Clap themselves—sees tunes coming courtesy of PillowTalk, No Regular Play, Slow Hands, Nick Monaco, Navid Izadi, and Life On Planets. The party runs from 3pm till late; you can purchase advance tickets here. And don't sleep—Full Moon Fest has sold out all four previous years, and early-bird tickets are already gone.

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Phuture Remaster 'Acid Tracks' for Vinyl Re-Issue on Trax Records http://www.xlr8r.com/news/2015/06/phuture-remaster-acid-tracks-for-vinyl-re-issue-on-trax-records/ http://www.xlr8r.com/news/2015/06/phuture-remaster-acid-tracks-for-vinyl-re-issue-on-trax-records/#comments Tue, 23 Jun 2015 00:52:14 +0000 http://www.xlr8r.com/?p=93952 DJ Pierre, Spanky, and Herb J of the Chicago-based acid-house group Phuture have remastered the trio's seminal record "Acid Tracks" for re-issue on vinyl available now via Juno Records.

Trax Records—the Chicago-based house music label that played a major part in the development of house music during the mid 80's—has just released a new repressing of "Acid Tracks" by influential acid-house pioneers.  Identified by numerous different artists as the first acid house record ever produced, the release features the then uncharacteristic bass lines from the Roland TB-303 bass synthesizer that the acid house genre was built upon. This squelchy bass line was the sound that gave the group it's identity, and from that identity a whole style of house music would be born. The members of Phuture have also been credited with pioneering and developing the Chicago acid-house sound with their other releases on Trax Records, including the club EP "We Are Phuture." The vinyl was originally mastered by Marshall Jefferson and includes all three original tracks from the first pressing, including the unmistakable B side combination of 'Phuture Jacks' and the cocaine addiction warning message 'Your Only Friend'. Check out Phuture on Facebook for more info and buy the record directly from Juno Records here.

You can also catch DJ Pierre and Phuture on tour this year, with a live date this Saturday at the Twisted Pepper in Dublin, or next month on July 27 at SummerDance in Grant Park, IL.

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NY*AK "Laid" http://www.xlr8r.com/mp3/2015/06/nyak-laid/ http://www.xlr8r.com/mp3/2015/06/nyak-laid/#comments Mon, 22 Jun 2015 18:06:57 +0000 http://www.xlr8r.com/?p=93958 Following on from its inaugural release—the Stark Champagne EP from Omar Santis—Swedish label Karakul return with the Laid EP from UK producer Andy Scott  (a.k.a. NY*AK). Employing an all hardware setup including an MPC, a Juno 106, and various Roland drum machines, Scott presents four warm, soulful cuts with swung rhythms reminiscent of hip-hop's golden era. Pulled from the EP is the title cut, "Laid," a sample-heavy slow burner with an undeniably infectious groove. The full EP—with artwork by Callum Mclean—is available now over at Phonica Records, with "Laid" available as a free download below.


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Premiere: Hear a Track From BNJMN's Latest EP, Chromed http://www.xlr8r.com/news/2015/06/premiere-hear-a-track-from-bnjmns-latest-ep/ http://www.xlr8r.com/news/2015/06/premiere-hear-a-track-from-bnjmns-latest-ep/#comments Mon, 22 Jun 2015 16:29:02 +0000 http://www.xlr8r.com/?p=93949 On July 6, UK-born Berlin-based producer BNJMN will follow up his brilliant Luster EP with the release of Chrome, a four-tracker set for arrival on his own Brack imprint.

Chrome continues down the darker and grittier path BNJMN first started delving into with Luster: deep, low-end thuds bookend the tracks, with murky, hypnotising synth work and scraping percussion slicing around on top. The analog drenched sounds and textures run wild throughout the EP, creating nuances and subtle shifts that only become apparent after repeated listens.

EP cut "Rattled" can be streamed in full below, with the full release available for preorder here.

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Apple Music Changes Policy on Royalties http://www.xlr8r.com/news/2015/06/apple-music-changes-policy-on-royalties/ http://www.xlr8r.com/news/2015/06/apple-music-changes-policy-on-royalties/#comments Mon, 22 Jun 2015 13:06:21 +0000 http://www.xlr8r.com/?p=93941 Earlier this month, Apple unveiled details of Apple Music, a new service launching at the end of June. Paid subscribers will have access to unlimited music streaming for $9.99 per month, plus a three-month free trial period. However, the company's original policy, which stated that music labels and publishers would not receive any royalties from plays during the 90-day trial, sparked controversy. Siding with independent labels such as Beggars Group (home to the XL and Rough Trade labels) and the Association of Independent Music, pop star Taylor Swift penned an open letter to Apple over the weekend explaining why her 1989 LP would not be available on the service, and calling on the company to change its policy. "Three months is a long time to go unpaid, and it is unfair to ask anyone to work for nothing," she wrote. "We don’t ask you for free iPhones. Please don’t ask us to provide you with our music for no compensation."

As a result, Apple's Eddy Cue announced the reversal of the policy this morning via Twitter, stating: "Apple will always make sure that artist are paid. #AppleMusic will pay artist for streaming, even during customer's free trial period. We hear you @taylorswift13 and indie artists. Love, Apple." A 'per-stream' royalty system will be out into place instead. (via Resident Advisor)

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Stream and Download Four Tet's New Album http://www.xlr8r.com/news/2015/06/stream-and-download-four-tets-new-album/ http://www.xlr8r.com/news/2015/06/stream-and-download-four-tets-new-album/#comments Mon, 22 Jun 2015 07:16:47 +0000 http://www.xlr8r.com/?p=93938 Last month, Four Tet (a.k.a. Kieran Hebden) revealed that he'd be releasing a new album via his own Text label in early July, entitled Morning/Evening. Over the weekend, however, the two-track LP saw a surprise release in celebration of the summer solstice, and is available to stream and download via Bandcamp now. According to the accompanying description, "This music was created on a laptop computer using the Ableton Live software to control and mix VST synthesizers and manipulations of found audio recordings." A physical release will land on July 10. (via Resident Advisor)

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B2B: Phil Weeks and D'Julz http://www.xlr8r.com/features/2015/06/b2b-phil-weeks-djulz-rex-club/ http://www.xlr8r.com/features/2015/06/b2b-phil-weeks-djulz-rex-club/#comments Sat, 20 Jun 2015 13:00:15 +0000 http://www.xlr8r.com/?p=93785 London's Fabric launched its eponymous label in 2001, a mere two years the famed club began packing its three rooms with the U.K. capital's discerning revelers; Berghain opened its doors in 2004, and its associated label, Ostgut Ton, began releasing the kind of rarefied techno that defines the Berlin nitery in 2006. But the Rex Club decided to let things simmer a little longer: The Parisian boîte originally began packing 'em in during the late ’80s, becoming a haven for the city's electronic sounds in the early ’90s—but it wasn't until last month that Rex Club Music burst finally upon the scene. But the two-decade-plus wait was worth it, as the label has sprung to life with a near-literal bang, tapping a pair of the club's top residents—Julien "D'Julz" Veniel and Phil Weeks—to kick things off by combining their considerable talents for the inaugural single. As you might be able to guess, the result, the Second Hand Smoke EP (released last month), is a monster of an EP, with the "Break 4 Love"–referencing "Ligne B" (complete with tough Trus'me remix) backed with the hard-charging, evocative "2 Miles Away." Hooking up via Skype, the two French vets discussed the new label, the making of the EP, the burgeoning Paris scene and, of course, the beloved club they call home.

D'Julz, you’ve been involved with Rex Club almost since the beginning, right?

D'Julz: Not the beginning, but almost forever. I think the first time I played there was around ’95 or ’96, for a party called Temple that some rave promoters had moved to the club. At that time, it was becoming very hard to do raves, because the police were shutting them all down—and the Rex was one of the only clubs that thought that it would be interesting to work with these new promoters and this new crowd. The club gave all the Saturdays to Temple, and I had one night a month with them. After a year or two, the promoters had moved on to something else and the night was done, but the Rex decided to give the DJs their own nights. And that’s how Bass Culture was born in 1997.

And that party still lives on—that’s quite a run.

D'Julz: Yes, it is! It was a monthly for the first four years, but then I started playing abroad more and more, so I changed it to every other month. It’s still doing great…and I still love doing it.

Would it be fair to say that both you and Bass Culture helped to define the direction of the club in those day?
D’Julz: Oh, I don’t know about that. There have been so many local artists who have been doing great nights there—starting, of course, with Laurent Garnier. He was there a few years before I started. The thing that did happen was that, in the very early days, the Rex had rock nights and hip-hop nights, and after a while, it was only electronic music. But it had all the electronic styles—there were big drum & bass nights, and Fridays were always big techno nights. And Phil’s nights were centered more around Chicago house; he can tell you more about that.

Weeks: Julien started way before me—I think the Rex is now totally associated with him and his night. I can remember going to his nights just to dance. He’s really been there since the beginning of our time—of Paris time. For me, it was different. I didn’t start playing there till 2001. It was not my night, but it was the first time I got booked at the club. It was something that I been waiting for, of course—everyone was like, “You have to play at the Rex Club!” We had that old mixer—do you remember that, Julien?

D’Julz: Yeah! It was of French mixer—a really nice one, but one that I never saw outside of France.

Weeks: I was only playing once in a while at first, maybe only once a year. I got my own night, and started getting more involved with the club, in 2008 or 2009. It’s the night I still do with my partner, Didier Allyne. He’s more on the techno side than I am, but we are good friends in live, so we decided to join up.

And now, finally, there’s a label, Rex Club Music.
D’Julz: Yes, finally! It’s Molly’s project—she’s an up-and-coming French talent who has been working at the Rex Club for many years, first doing promotions and later doing he own nights there. The boss of the Rex decided it was about time to start a label, and we’re all really happy that she’s the one who did it—she has a wide range in taste.

The club itself features a fairly wide swathe of music, so it will probably be difficult for the label to fully represent what the club is about.

D’Julz: Yes, that is true. The first release is house, of course, but the label has to show more than house. At some point, there will be techno and other things, for sure. But she is the right person to do it. She’ll be getting a lot of people who are residents of the club, and also guests from all over the world—and she wanted to start with something from me, which is great. But when she asked me if I had any new music, I said no! [laughs] That’s happened to be just when I started working with Phil on a project, and we didn’t know what to do with the project. We weren’t even sure if we were going to use our own names—the only thing we knew was that we didn’t want to put it out on our own labels. When we knew about the label, we realized it would be perfect, so we told Molly that we have this project, and if she likes it, maybe it would be perfect for the first release. She liked the tracks…and there you go!

Had you two worked in the studio together before this project?
Weeks: That was the first time, even though we’ve known each other since late ’90s. It was my idea to do this. Julien was sending me some music, and I was impressed by the sound quality, which is very important to me—everything always sounds so digital. So I was like, “Shit, man—we should make some music together!”

It’s kind of amazing that it never happened before.

Weeks: Yeah. We’re both at the club, I appreciate his work, he’s always playing my music—finally it was, okay, let’s do it! That’s how it started. Then Molly called while we were in the studio, and said “I would like something from you and Julien!” She already knew from you that we were working together, no?

D’Julz: Yeah, she did know. But it was perfect timing, really.

Weeks: We didn’t even think about it. We weren’t like, “Oh, we will be the first release on the new label.” We just said yes. But we are kind of proud to be the first release.

How did you two actually work—were you in the studio together for this, or were you sending files back and forth?

D'Julz: We were working in Phil’s studio—and Phil definitely has his own way of working. I usually use a mix of analog hardware and the computer—depending on the project, it might be more with synths, or it might be more with Ableton, but it’s a mix. Phil has his own way of working, which is almost 100 percent in the MPC3000, with just a couple of other things like the 909. Writing everything in the MPC is quite unique and makes things sound very special, and I was very curious to work this way. I just brought a couple of records to sample, and after that, it was just basically us jamming.

Do you think the results mesh your two sounds together, or does it sound like neither of you?

D’Julz: We finished the first track, “2 Miles Away,” really quickly, and I think that one sound different than what either one of us would sound like on our own. That was actually what we were aiming for.

Weeks: I would never have done that track by myself, for sure. It’s us working together, but it doesn’t sound like us, I don’t think.

D’Julz: But the second one, “Ligne B," the sound of us together. The bass and beats are definitely Phil’s style—and the loop on top is maybe me. It’s the perfect combination of the both of us, and I think the EP is quite rich because of this.

Weeks: I feel exactly the same. That second track, the one with the bass, is the one that I’m playing the most in my sets.

D’Julz: Me, too! [laughs] But a lot of people have been playing the first one, so we are happy.

I know a lot of people really love that Trus’me mix of “Ligne B” as well.

Weeks: So do I!

D’Julz: We actually had a few names in mind for the remix, but I’ve really been liking what Trus’me’s been doing lately. It’s a bit more techno, but always with a nice groove. There’s something quite different about his music, and I really like that. Anyway, we submitted his name and a few others to Molly, and she knows Trus’me quite well and bumped into him when he was playing at Concrete a few months ago, and it just went from there. He did a great job—it’s stripped down and more focused on the bass.

Weeks: It’s that 303 bass. We made it with the original TB-303, and I think that’s why he liked it—the sound of it is huge.

Do you two have any more plans to work together?

Weeks: We haven’t even talked about that yet, I don’t think. Are we, Julien?

D’Jules: We had a lot of fun working together, and we are both happy with the result. But right now, I really need to start focusing on my own material, because I was doing a lot of collaborations before. I know Phil is a workaholic—he does like two tracks a day or something—but I’m a lot slower, so that’s why I have to set time aside to work on my own stuff. Eventually, I’d love to do something else with Phil.

Weeks: And I’m working on my next album, so at the moment I’m focused on that. I’m not even doing very much remix work right now. But we’ll do something again, for sure.

Do you both see yourself staying at the Rex Club for as long as you're DJing?

D’Julz: Well, both of our nights have never been doing as well as they are now, I have to say. The Paris scene in general has exploded in the past three years.

Weeks: I think it is the best in the world now. Before, I would have said London and Berlin—but I think Paris is taking over, at least in Europe.

D’Julz: And that’s something that we did not see coming! But it’s at another level right now, with new clubs, new parties and new festivals. With the Rex in the middle of this, you might think it might suffer from having all this new competition—but that’s not the case at all. The club is doing better than ever, and so there is no plan to ever move on.

Weeks: I am the same way. It’s so funny—when I’m playing there now, there are all these kids looking at the CDJ trying to see what you are playing. They all want the music! People aren’t there just to party and get fucked up. They really want to know about the music, and you can feel that. And Paris wasn’t always like that.

D’Julz: This new generation is just fantastic. They are very open-minded, and they are very educated about things. They are the best crowd that you can imagine.

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Event Review: The Black Madonna at Dig Deeper http://www.xlr8r.com/reviews/2015/06/event-review-the-black-madonna-at-dig-deeper/ http://www.xlr8r.com/reviews/2015/06/event-review-the-black-madonna-at-dig-deeper/#comments Fri, 19 Jun 2015 21:51:01 +0000 http://www.xlr8r.com/?p=93889 If you told a crowd of seasoned LA promoters that two twenty-something LA chicks had crafted a formula for late night events that was simply both of them opening for a single headliner for the entirety of the night, and that within 9 months that formula would have people literally climbing up the walls as though they were possessed by the Holy Ghost, you’d probably get a healthy dose of skepticism. It takes years of experience and toiling away in anonymity to break through, right?

It seems Alison Swing and Masha Mar have little respect for tradition. Even they are in awe of what their party thrown under the moniker “Dig Deeper” has become in such a short period of time. When the duo aren’t opening up for for the likes of Max Graef, Jay Daniel, and Iron Curtis in the comforting shadows of the LA subterranean scene, they are throwing events at The Standard Rooftop in Downtown LA or at The Ace Hotel in Palm Springs. Their names can also be seen on a vast array of lineups around town as they perfect their craft and expand their outreach. Don’t think that their impressive early returns have come without hustle; these ladies work hard.


Alison Swing

But when they are behind the decks, they are flashing Cheshire smiles in the darkness, serving up forward-thinking house music and hugging awe-struck revellers from across the DJ-booth divide. They have stumbled into a certain kind of magic that is all their own and unlike most other LA parties happening right now.

Some of that is at least due in part to the younger crowd that has embraced vinyl as a medium all over again, and who freak out when Swing—who exclusively plays vinyl—drops a well-timed cut of LCD Soundsystem’s “Get Innocuous” as an ice cube into a stiff 4/4 cocktail.

Credit their artistry as well, such as Masha’s prophetic suggestion that they adorn their DJ booth with madonna figurines and other religious paraphernalia as an homage to the legendary Chicago-based DJ, vinyl cult purveyor and personal hero of theirs. Marea (Black's real name) would later tag the two on Instagram for the ornate altar placed in the middle of the dancefloor—Boiler Room style—from which she graciously administered her sermon.

Masha opened up the night with some divine selections of her own blend of soulful deep house, which draws heavy influence from Detroit and the likes of Omar S, that would serve as communion to the first devotees who arrived.

“I believe in the art of the opening DJ," said Masha when speaking to XLR8R afterwards. "I set the tone by starting off with Avalon Emmerson’sChurch of Soma’ (HNNY remix) and then moved into the shamanic Red Axes ‘Me and Abra In Ruanda’ (Hivern Discs).” Repping your talents as an opening DJ is a bold move, but it legitimately was the perfect scene-setter. By the time she played her last track, the crowd in front of the booth was already thicker than the King James Version of The Bible, with little-to no-chance of mercy anticipated from The Black Madonna.

Once Alison went on, dancers had overtaken the back of the DJ booth as well. Not missing a beat, she transitioned into Axel Boman’s new track, “Something Bad on my Mind” from Junk Yard Connection’s ‘Back Yard Impressions Vol. II.’ By then, the party was locked into a groove with their hands waving and, judging by their faces and yelps, clearly feeling like the music was the perfect soundtrack for their life at that very moment.

Before delivering her sermon, The Black Madonna arrived early with her record bag in-tow to take in the party, mingling with her friends and hanging around the pulpit to hear the majority of Swing’s set.

"Marea is someone I really look up to, not only as a DJ, but as another woman in the music industry. Her viewpoints have been a huge source of inspiration for me,” said Swing with obvious reverence.

And lo and behold, The Black Madonna came down from heaven, playing a set straight out of the Book of Revelations that featured Chicago house, rare disco edits, Berghain-style techno, and everything in between. Adding one more bullet point to their resume for the night, Masha and Alison had to take on the role of security enforcement to keep the heaving crowd from bumping into The Black Madonna as she preached. For lack of a better metaphor, seeing her navigate so many genres so fluidly was a religious experience and the party was primed for the Rapture that, appropriately, finished late on a Sunday morning.


Dig Deeper maintains a brand that, at its core, is asking the dance community to try new ideas when it comes to partying. House music was built on the fundamental belief that no matter who you are, where you come from, or where you’re going, at the very least, you deserve a place where you will be accepted. Dig Deeper is a place to confess your sins, and a place to wash away the shames of atonement.

Masha & Alison have work lined up all over town for the next couple of months. Catch them at one of their dates in Los Angeles, and check out Dig Deeper for more information on their next event. You can also check out The Black Madonna in New York during Pride Weekend for The Bunker & Wrecked Pride present: Honey Soundsystem, The Black Madonna, Carlos Souffront, Mike Servito, and Honcho.

6.19 Transit w/ Hashman & Masha @ Venue TBA

6.20 Sunblock w/ Joakim, Secret Guest TBA, Lovefingers & Masha @ Standard Rooftop

6.26 Dickslap w/ Victor Rodriguez & Alison Swing @ Precinct

7.11 Sunblock w/ Detroit Swindle, Alison Swing, Masha more TBA @ Standard Rooftop

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Premiere: Watch a Video for JoeFarr's "Mormon Shuffle" http://www.xlr8r.com/news/2015/06/premiere-watch-a-video-for-joefarrs-morman-shuffle/ http://www.xlr8r.com/news/2015/06/premiere-watch-a-video-for-joefarrs-morman-shuffle/#comments Fri, 19 Jun 2015 17:43:16 +0000 http://www.xlr8r.com/?p=93822 Back in April, JoeFarr's Longanimity EP kicked off Leisure System’s GRIDLOCK 12” series, which represents the labels "ongoing interest in melding the freaky and the functional on the dance floor." Now, EP cut "Mormon Shuffle" gets a weird and wonderful new video from the Old Rope Films camp.

The video is a twisted, hallucinogenic, and quite humorous three-and-a-half minutes which arrived with very little planning: "With barely any time, we instinctively decided the most natural visual accompaniment for JoeFarr's writhing mechanical atmospheres would be this funked up fashion shoot stuck in a Möbius strip in time," director Theo Watkins says. "It came to us like a whisper from another dimension."

You can watch the full video for JoeFarr's "Mormon Shuffle" below, with the full EP available here.

Mormon Shuffle from Jamie Harding on Vimeo.

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Ghostface Killah + MF DOOM, Nicolas Jaar, and Panda Bear Announced for III Points in Florida http://www.xlr8r.com/news/2015/06/ghostface-killah-mf-doom-nicolas-jaar-and-panda-bear-announced-for-iii-points-in-florida/ http://www.xlr8r.com/news/2015/06/ghostface-killah-mf-doom-nicolas-jaar-and-panda-bear-announced-for-iii-points-in-florida/#comments Fri, 19 Jun 2015 17:38:32 +0000 http://www.xlr8r.com/?p=93856 III Points has released the initial lineup for their 2015 festival, taking place in the Wynwood Art District area of Miami during the second weekend of October. One of the acts on the bill that has attracted the interest of Hip-Hop heads all over the internet, is the collaborative performance between Ghostface Killah and MF DOOM, titled "Live From The Other Side Of Time." The two story-teller MCs are set to present an exclusive audio/visual show that will have the performers transported to the stage via a "Star Trek-style" live screen. The DOOMSTARKS album was reported to drop in 2015 by Ghostface himself in a reddit AMA thread back in December of 2014, but rumors surrounding the release of the mysterious album have been circulating for over 8 years. Other artists on the lineup include The Martinez Brothers, Damian Lazarus & The Ancient Moons, and Animal Collective's own, Panda Bear.

The three-day event will showcase Miami’s local performers, vendors, artists, and musicians, and will include panels, lectures, gallery shows, and a fully immersive 4 stage main-grounds. Early bird tickets are sold out, but the next wave of tickets can be purchased on the III Points website.

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Premiere: Hear Sinfol's Unstable Remixes EP http://www.xlr8r.com/news/2015/06/premiere-hear-sinfols-unstable-remixes-ep/ http://www.xlr8r.com/news/2015/06/premiere-hear-sinfols-unstable-remixes-ep/#comments Fri, 19 Jun 2015 15:51:47 +0000 http://www.xlr8r.com/?p=93828 On June 23, Anagram records will release Sinfol's Unstable Remixes EP, features reworks by two French producers: Francois X and In Aeternam Vale.

Rising Parisian DJ, producer, and Demant3d records co-founder Francois X kicks things off with his rework of "Unstable," twisting the bright mix of the original into a typically dark, driving, and hypnotic cut, with a wall-shaking low end and tightly wound textures riding up front. Up next, pioneering electronic musician In Aeternam Vale turns his hand to "The Fields," reconstructing the original sounds into drawn out drones and acid textures that are bookended by chunky drum-machine rhythms.

You can hear Unstable Remixes in full below, with the EP available on June 23.

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