XLR8R http://www.xlr8r.com Accelerating music & culture Thu, 30 Jul 2015 09:48:33 +0000 en-US hourly 1 Premiere: Hear "Eleven" by Locked Groove from New Various Artists Compilation on Life and Death http://www.xlr8r.com/news/2015/07/premiere-hear-eleven-by-locked-groove-from-new-various-artists-compilation-on-life-and-death/ http://www.xlr8r.com/news/2015/07/premiere-hear-eleven-by-locked-groove-from-new-various-artists-compilation-on-life-and-death/#comments Thu, 30 Jul 2015 09:48:33 +0000 http://www.xlr8r.com/?p=97840 As mentioned last week, the Life and Death imprint have announced a new Various Artists EP with tracks from Scuba, Locked GrooveSei A and Alex.Do.

Ahead of the EP's August 3 release date, the stunning "Eleven" by Locked Groove can be streamed in full below.

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Premiere: Stream Dance Spirit & Mia Lucci's "Intention" http://www.xlr8r.com/news/2015/07/premiere-stream-dance-spirit-mia-lucci-intention/ http://www.xlr8r.com/news/2015/07/premiere-stream-dance-spirit-mia-lucci-intention/#comments Wed, 29 Jul 2015 23:56:27 +0000 http://www.xlr8r.com/?p=97712 LA-based duo Dance Spirit will drop its latest EP, Reflection, on Berlin imprint Kindisch on August 4.

Operating in the deep and trippy style the duo are known for, the EP is full of organic soundscapes, moody synth work, and heavy, rolling low-ends. The hypnotic four-tracker also features collaborations with fellow LA artist Jon Charnis, who applies his touch to "Affirmation," and the one in question here with Kindisch label head, Mia Lucci, who joins Dance Spirit for closing track, "Intention." Driven along by otherworldy sound design and tight drum-machine rhythms, "Intention" closes the EP with the trio applying beautiful atmospherics and tension-filled synth work across its 10-minute run.

You can stream "Intention" in full below, with the full EP arriving on August 4.

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The Factory: Kim Ann Foxman http://www.xlr8r.com/features/2015/07/the-factory-kim-ann-foxman/ http://www.xlr8r.com/features/2015/07/the-factory-kim-ann-foxman/#comments Wed, 29 Jul 2015 21:09:24 +0000 http://www.xlr8r.com/?p=97494

Photos By: Nicolas Troncin

ambitious androgyne on a starlit trajectory

A powerhouse who needs little introduction, Kim Ann Foxman’s divergent path from Hercules & Love Affair has proven to be creatively fulfilling and professionally fruitful. Years after closing the nu-disco chapter of her life, Foxman has manifested her own mellifluous journey, and is staking a claim for herself in the music scene as DJ, producer, and label owner. Her highly sought-after sets, continuous creative collaborations and array of vinyl releases has her on everyone’s radar... again. Prior to her set at YAAASSS, we crossed paths with Foxman at The Well—a creative space connecting the Los Angeles demiurgic demographic—to discuss her aesthetic and philosophy on mixes.

When you meet Foxman, it’s hard not to be enchanted by her effortlessly edgy style and boyishly handsome looks—but it was her soft-spoken voice, laugh, and quirkiness that set the stage for an engaging evening. Sporting the “androgynous with an edge” look, Foxman’s urban street style was accented by her notable, neoteric bob. As a former hairstylist, I couldn’t refrain from asking her about her hair. “My best friend has been cutting my hair for over 16 years, non-stop, she explains. “Her name is Holli Smith, she is really amazing, and does mostly editorials and fashion shows. She’s major and I just happen to be the lucky best friend. She knows me so well, and I never ask her for a style. I always sit down and let her do whatever she wants, it has always been that way. I trust anything she does, even if she left only one hair on my head, I'd wear it with confidence! It feels good for me to have something with some edge. If I have a cool haircut, I feel good, whether it’s messy or not. It has become a big part of me. It may not be for everyone but that's the whole reason why I love it so much."

Foxman’s urbane personal style is largely reflective of her years of living in New York, yet her music remains deeply influenced by her earlier and formative days in San Francisco. She attributes much of her musical influence to that identifying era and sound as part of my vibe and the heart of my sets.” Drawing on her eclectic taste in music, she builds sets with a heavy dose of house, mixed with jacking acid, techno, jacking, and rave jams.

Since birthing her baby, Firehouse Recordings, with baby-making partner, the Vinyl Factory, Foxman largely focuses her time and energy into her label, turning the creative outlet into a labor of love. “I love being able to release things on my own schedule and not having to wait a zillion years on another label for my turn. I like to be in creative control and the artwork aspect makes it really enjoyable for me. Firehouse has been a really fun project, and The Vinyl Factory has been nothing but an amazing label partner. When it’s all done, I get to hold my beautiful heavyweight vinyl baby in my hands.”

photo by nicolas troncin

Euphonic exploration is often rewarded by the discovery of “hidden gems,” yielding an instant gratification for collectors as they are added to a repertoire of rare records. In order to preserve the sacred nature of her findings, Foxman has developed a system to keep them concealed from the uninitiated. "I get pleasure out of watching people trying to train-spot when I've coded my record rips in my own language that only I can understand. If it's available online in digital format,  I don't mind letting someone know—but if it's a record that took me 20 years to figure out what it is, then I'm gonna hold onto it a lot tighter, of course. Everything is so accessible now—I think mystery is sexy."
KimFox10

To conclude the evening we learned about her philosophy of mixes and the importance of her track selection. “I like to space them out and try to pick and choose them wisely,” she says. " I always include some secret weapons that have value to me. Gems are hard to come by, and I love to share them with the dance floor in the moment and get that live feedback. I feel like it's hard enough to pick out the diamonds when there is such an over saturation of mediocre stuff in the market. Every song counts in a mix. I don't play filler tracks.”

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Count Counsellor "AKidOutThere" http://www.xlr8r.com/mp3/2015/07/count-counsellor-akidoutthere/ http://www.xlr8r.com/mp3/2015/07/count-counsellor-akidoutthere/#comments Wed, 29 Jul 2015 20:35:56 +0000 http://www.xlr8r.com/?p=97639 Quality Time Recordings is a new LA-based imprint that kicked off its catalogue last week with London-based artist Count Counsellor's debut EP, & The Childhood Heroes—which was co-produced and co-written with Fred, Red Bull Music Academy alumnus and one half of the Brian Eno- approved duo Sylas. The four-track EP was inspired by Count's childhood, "the moments that shaped him and the heroes who elevated him." This childhood wonderment is ever apparent in closing cut, "AKidOutThere." Opening with an undeniable nostalgic feel, the track floats through whispered field recordings, organic textures, and pensive vocals, unpinned by a thick, gurgling bassline and with colorful synths riding up top. "AKidOutThere" can be grabbed for free below, with the full EP available here.

AKidOutThere

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XLR8R Announces New XLR8R TV and Launches The Factory http://www.xlr8r.com/news/2015/07/xlr8r-announces-new-xlr8r-tv-and-launches-the-factory/ http://www.xlr8r.com/news/2015/07/xlr8r-announces-new-xlr8r-tv-and-launches-the-factory/#comments Wed, 29 Jul 2015 16:00:58 +0000 http://www.xlr8r.com/?p=97533 For over 22 years, the XLR8R brand has been synonymous with nonstop, ear-to-the-underground electronic-music news. The name is tied to an uncompromised history of quality artistic output, from the long-standing print magazine and its iconic design to the present day online platform. In December, the San Francisco-based company debuted its brand-new website, and officially moved its offices from San Francisco to the recently burgeoning Los Angeles Arts District. With a new home base and a freshly updated website, the XLR8R team has been hard at work to bring its readers the latest in music news, and create feature content that the electronic music world needs.

XLR8R is proud to announce its two new additions: XLR8R TV and The Factory.

Kicking off with our forthcoming documentary film on MUTEK Montreal, the new XLR8R TV will be documenting and showcasing forward-thinking festivals, events, artists, and studio gear, as well as premiering music videos and highlight performances within the XLR8R universe. 'All Access: MUTEK' will be launched Thursday, July 30, with more stand-alone artist features, gear reviews, and music news arriving on XLR8R TV shortly thereafter.

Additionally, XLR8R will be launching The Factory, an editorial series exploring how music influences artistic expression. The Factory will highlight prominent artists, designers, festivals, producers, and others, discussing the relationship of music and how it permeates into the aesthetic of their work.

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Q&A: Inner8 http://www.xlr8r.com/features/2015/07/qa-inner8/ http://www.xlr8r.com/features/2015/07/qa-inner8/#comments Wed, 29 Jul 2015 13:00:46 +0000 http://www.xlr8r.com/?p=97488 Inner8 is the solo project of Daniele Antezza, the Berlin-based, Italian-born producer who is best recognized for his work alongside Giovanni Conti. The pair run the Artefacts Mastering studio together, and also produce their own brand of dub techno under the Dadub moniker, a key component of Lucy’s Stroboscopic Artefacts imprint.

Born in 2007 as a stamp for the more experimental sounds that Antezza was composing at the time, the Inner8 project has evolved to become an essential channel for his self-expression—a tool to release the emotions that he holds deep within. His self-titled album—a beautiful 12-tracker—is his first release barring a couple of tracks around the project’s origination, and was made available just last week on Undogmatisch, an art collective–music label he co-runs alongside Mirco Magnani (a.k.a. T.C.O.) and Valentina Bardazzi.

Following the album’s release this week, and in anticipation of the Inner8 live show, XLR8R sat down with Antezza to investigate his improvised production processes, the sociopolitical inspirations behind the release and his visions for the future growth of the Undogmatisch imprint, the Inner8 project and the live show.

Where do your earliest musical origins lie?
Music has always been part of my life because my family has always had a passion for it. My first ever connection with musical instruments was when I was around ten years old. I studied piano, but the school I attended was not one that I liked, so I actually found that period very difficult. Their fascist way of teaching music became a nightmare for me. I didn’t actually start playing again until I was about 14—I began playing rock and then metal, playing bass guitar and keyboards. At 16 I started playing drums and then percussion until I was about 23. At 23 I was struck by this profound love for electronic music and my productions started at about 25 years old, using software only. I was studying economics at the time so it was nothing more than a hobby.

A move to Rome was inspired by a desire to develop my knowledge of electronic music—to study it and understand why it works. I started Dadub as a dub-ambient project in 2008 with a release on the label A Quiet Bump before I moved to Berlin in 2009. Giovanni had been drawn to Berlin to work on an interactive digital arts project, and when we met, Dadub became a two-man project.

What was behind the move to Berlin?
Berlin always felt like the best place for me to develop my music and my artistic personality. It is still one of the most liberal places around the globe. It was the perfect place to test my skills, because London and other places were too business-orientated, so they didn’t allow me to develop artistically.

From the outside, it seems that music has always had this special meaning for you—far deeper than just something you enjoy. Would you agree with that?
Yes. Music has, and always will have, a very deep meaning for me. Making music allows me to survive from a psychological point of view; there is absolutely no other option for me. It keeps me alive, and at a certain stage I just realized that I had to make it my life.

Your debut album as Inner8 was released just this week. How are you feeling about it?
I am super excited. I have invested so much time and money into it, so it feels like the start of a really great adventure. I am curious to see how the projects will work—not only Inner8, but also Undogmatisch. How will people interpret these projects?

In 2008, when you were producing as Dadub, you also were making sketches as Inner8. How did you distinguish between the two?
Dadub was always related to my passion for sound engineering. It was a very defined project with a very precise intention. Inner8 at the time was the opposite: there were no goals besides just having fun and experimenting with different sounds.

At what point did you decide you wanted to take the Inner8 project further?
I think the change came in 2014—very recently actually. It happened because in the moments after You Are Eternity, the album with Dadub, Giovanni and I started to explore new paths of sound design because we didn’t want to reproduce the sounds we had already been making. During this process of looking for new sounds and textures, I found out that I had these tracks, but they weren’t properly Dadub tracks, and so I realized it might be a good idea to give a good identity to the project. I also wanted a new way to express myself live, which is something that is really important for me. Having Dadub and Inner8 is perfect for me because I can express myself in so many ways.

Is it true that the album features loops that were made as far back as 2008?
I did use loops produced many years ago, but the process I used to treat the sounds is common and has been done far more recently. My decision to limit the album to 12 tracks came because I was listening to these loops and I realized there are currents behind each one. I then worked hard to create a system to harness all these currents using a number of feedback-generation techniques.

So how long did it actually take to put together?
It’s hard to put a timescale on it because I had to change studios, so I had to arrange the acoustic treatment of the rooms. But in total I would say it took about one year. I spent time collecting the material, and then I needed a lot of time to arrange the tracks, because I had to process them all through the same sound design techniques. The post-production was also very time consuming, because I did all the mastering and post-production myself. Fortunately I had some help from some friends who are sound engineers, like Federico Nitti (a.k.a. sYn) and Giovanni, which helped a lot. I think the post-production alone took about six months.

Did you actually have an intention to create an album, or did it just materialize?
I did not plan to produce a debut album. I just had lots of material and it just formed an album over time. To begin with, the Inner8 moniker was just the signature I used for these sonic experiments. I had no intention to release anything; I was just experimenting with sound design, and collaborating with an Italian label called Farmacia 901, the imprint run by my friend Fabio Perletta. As Inner8, I released two tracks on Farmacia 901 before Undogmatisch.
But in the future I think it is going to be different. I am already working on new tracks for Inner8 and I know it is going to be an album. It has gradually become more organic. All my sound design processes have changed. For me, this debut Inner8 album is part of my transition to my personal vision of sound and performing.

Photo: Kiril Bikov

Photo: Ale in Wonderland

How does producing as a solo artist compare with working as a duo with Giovanni in Dadub?
It is a different dimension because you are dealing just with yourself. Sometimes it is more difficult, because the beautiful thing about working with another person is that you have feedback all the time, which allows you to grow. When you are alone you have to be just with yourself, but this keeps your ideas closer to what you want. This is another one of the reasons why having both Dadub and Inner8 is one of the best things for me now.

Where does the name Inner8 come from?
It is strictly linked to the idea of infinity. It comes from my fascination with looping and self-generating sounds, but it also reflects my philosophical view: in my opinion, we can see ourselves as a whole set of structures, which means we can observe the same structures from the quantic to a macro level. This is similar to fractal geometry, and it's something that shows how we as human beings are used to behaving in a certain way and reproduce certain kind of structures and mechanisms within the society.

Sometimes there are kinds of actions in art and culture which are the exact opposite of the issue itself. So the main thought for Inner8 was, if I think about certain kinds of structures, why do I tend to use and reproduce their exact opposite? This question inspired me to investigate the idea and discover that a huge part of our actions are just preprogrammed to achieve an aim that it is far away from what the system tries to tell us. I see it as a process of liberation.

Inner8 albumLet’s discuss the artwork for the album. I understand this was done by Valentina Bardazzi, your partner at Undogmatisch?
Valentina is responsible for all the artwork at Undogmatisch. In my opinion, she has truly captured the aesthetic identity of the label. When we ask her to make a flyer or whatever, she has visions. For the artwork, she literally translates what she sees in these visions. I find it extremely beautiful. Referring to my album, she took the tracks and she gave her own personal visual interpretation. She’s a true visionary artist. For my new collaboration with Mirco, however, she sits in and draws when we are recording and listens to the music. I think this is important because it keeps the visions fresh. I want the music and the artwork to grow together. With my album the music was recorded first and then the artwork.

Moving forward with Inner8, I’m working with Valentina and Federico Nitti to keep the visual aspect close to the production process. I want to inspire the visual and get inspired by it. I'd like to avoid working on the visual content only after the sounds are made.

"Routing the signal flow is the same thing as creating a thought."

Inner8 sounds like little else out there and is quite unique. How do you go about creating such a singular style?
I spend a lot of time silently observing my setup, just focusing on the techniques I use to make the sound. For me, routing the signal flow is the same thing as creating a thought, and I prefer to be silent instead of saying meaningless words or just reproducing something thought by somebody else. After that, it is really just experiments, and often the results are completely different to the sounds that I actually intend to make.

However, having a personal signal-flow engine ensures that I create unique textures. I always try to keep a totally organic way when I build my sound design architecture, so while the framework is well designed, I am also free to improvise. It gives a unique touch to the result, because when you don’t think too much about how the different sounds should be interconnected between currents, then you can achieve textures that are completely unique. If you base your mental setup on something that is thought up by somebody else, then your sound will be similar to all the others.

Do you ever have sketches in your head when you go in the studio or is it complete improvisation within this framework?

Almost all of the time it is just improvisation. It does happen sometimes where I have a firm vision in my head but this is very rare. I do not think it is good to plan too much. My role is not to give rules to sound. I need just to express my deepest emotions, and that's why I like to use the term anarchist for this creation process.

Has the sound evolved from when you first started working on Inner8 material in 2007?
Yes, definitely. At that time I was very focused on studying music and had a very nerdy approach, so I was very focused on the techniques. Now I think it is slightly different; the technical side is reserved for the postproduction, and for when I study the technical details of the gear I need to use. All the rest is pure instinct and improvisation, so the sounds I make now are more artistic.

Do you ever wonder why you produce this sound?
I've thought about this topic a lot, but I still have no answers. I was once reading this really beautiful interview with Autechre, and Sean was being asked about their composition techniques. The answer was this: “Have you ever asked a kid why he is climbing a tree?” I have to be very careful not to open up my rational side too much when I am working. When I feel that a sound is ready it is because it has something to say, and I know even though I am not thinking about it. Making music must not be a conscious thing. I must just be in the moment. The rational side represents just a small part of our brain and. in my opinion, it is not the main tool during an artistic process.

"We all talk about love and respect, but practically everything is based on sophisticated forms of violence. It’s a big paradox, isn't it?"

An album is a big thing for an artist. It’s more than just an EP; it’s a statement. What do you want to communicate with the album? Is there a particular message that you’re trying to get across?
I agree regarding your description of an album as statement, even though I perceive this album as a transition because the idea of sound I have in mind needs still to mature. Talking on a more abstract level, the main message for the album is that the humans should start to seriously consider their practical actions, without forgetting the theoretical purposes, that are often exactly the opposite of the result of our actions. For example, we all talk about love and respect, but practically everything is based on sophisticated forms of violence. It’s a big paradox, isn't it? If we continue to get stuck on it we will be never able to radically change the status quo.

A major motivation behind the album was your fascination with paradoxes. Can you elaborate on that?
In truth, this isn't exactly the major motivation of my album composition, but it is the main conceptual framework that led me to give a theoretical organicity to my work. The research of paradoxes is one of the approaches I like because it reveals how a system—political, social, cultural and so on—can be really distant from its theoretical status. If we want to analyze something we find fake or hypocritical, we just need to show the conceptual paradox of it. If we want to translate this approach in sound design, I can say that it is exactly the reason why I am endlessly researching for unique textures. I mean, if we act in an underground and alternative domain, I do not see the point to reproduce the paradox to use standardized techniques. Standards are just useful to managers and market—but art does not need that.

You previously released on Farmacia 901, but why did you decide to start your own label, Undogmatisch, to release this material?
The motivation behind the label was related to an idea I have for artistic production. I want to keep part of my production a little bit detached from market rules and timing, so creating my own label makes me feel less controlled by other people’s schedules. Managing my own label also gives me the opportunity to experiment with my own ideas of organization—mainly based on the concept of horizontal relationships rather than vertical hierarchy—through alternative decision processes with my collaborators, or by writing contracts in a bit different way than the usual ones. These are just examples. In this way, if I always have a room where I can have my toys, I can play around with them and then when I find good ideas I have the possibility of doing something with them, but without the pressure. With Inner8, this aspect has been extremely important—having my own label gives me the possibility of achieving a more professional level for my productions.

Your partners, Mirco and Valentina, were running Undogmatisch as an event series before it became a label, right?
Undogmatisch was founded by Mirco and Valentina. Their first Undogmatisch event was about three years ago, and then I met them at the third edition of the event. I was really impressed because, besides the party itself, they had a really big art exhibition and there was a beautiful aesthetic behind all this. They are both very talented, experienced artists, and so we started to collaborate for the events.

At the time when the events started to do really well, we realized that we were surrounded by some extremely skilled people so we just started to evolve Undogmatisch into a platform for artists. We have plans to have Undogmatisch showcases outside of Berlin, and we are going to have some Undogmatisch residents apart from Mirco, Valentina and I, like Federico Nitti, Justinas Mikulskis (a.k.a. S13), the writer Thomas Bey Williams Bailey, and the photographer Kiril Bikov. It’s a label-platform that we hope is going to grow with more and more artists.

Photo: Kiril Bikov

Photo: Ale in Wonderland

And as for the music-label side, do you envisage taking other artists on?
Yes, that is certainly the plan. I am currently looking to develop a core roster of artists. At the moment it is myself and Mirco, and as a collaboration we have plans to release our own album on the label. I believe sYn, who also does the visuals for Inner8, will be releasing too. It is very important that all the artists on the roster have a common vision and this is something I am looking at developing.

I can also confirm the first Limited Undogmatisch release in November or December which will be a collaboration with T.C.O.  It's also an experiment we're making with our artwork curator, Valentina. We're composing music while she draws, and from that we get inspiration for our jam sessions. The artwork will be very special.

It seems far more like an art collective than just a music label.
That’s true. Besides music, it covers events and other art forms. It is a lot more than just music.

How do you intend to balance all the projects going forward, especially with the label now too?
For me, managing all these things is like planting seeds. If these seeds grow then somebody else is going to take care of it. I am a musician, and of course I want to build something that is mine and that can inspire people—but if these things grow, then somebody else will have to take care of them. My input will always be there but it is not my aim to be a label manager.

How do you perceive the Inner8 project working alongside Dadub?
Dadub and Inner8 are parallel. Dadub has its own identity; it is a really special project. It is something that is not going to end anytime soon. To make the project grow, we need time, and during that time I can work on Inner8. At any one time I will be working on one of the projects and, by doing this, I will be richer and refreshed in thoughts because I have let the project breathe a little bit. If I am not greedy, then I think I can manage both projects.

You said that you've already started working on a second Inner8 album. How much progress have you made?
I plan to release the new album middle or late 2016. I’ve also decided to move Inner8 into the techno scene, so I'm also at work on two EPs. Regarding the album, I already have about six or seven basic track structures, but I have frozen the project for now. I don’t want to overwork on it, because I am afraid of it losing the Inner8 identity. So for now I am working more on the collaboration with Mirco, and also a more dancefloor-orientated EP. I need to keep my ideas fresh, which is definitely true right now—but I know that wont be the case forever.

"I really like to think about how I want to perceive the sound, like on a rational and emotional level."

Do you have a particular vision behind the second album, similar to that of paradoxes with the first album?
I really like to think about how I want to perceive the sound, like on a rational and emotional level. The first album talks mainly to a rational dimension—even if composed from not only my rational side—and that is why I have used contemporary philosophy. I have used rational drum patterns: they are well ordered—4, 8, etc. But this time, with the second album, I am pushing more into the spiritual domain. It is going to be a little bit more inspired by other sources, like shamanism and so on.

Earlier, you mentioned a joint project with Mirco. What’s the name of the project, and how did it come about?
The moniker is just Inner8 + T.C.O—it’s that simple. We decided to develop the collaboration after we produced the track “Ataraxia” on the Inner8 album. In making the track, we found out that we had actually made some really exciting loops and so Mirco started to give currents and orders to these loops, and then I started to process them with my feedback system and through my sound design techniques. The project is entirely improvised using a clarinet, the main instrument played by Mirco. So far we have no concept or anything—we are just playing around, but we do wish to take the project further.

You've been developing a live Inner8 set. What are your expectations for it?
The proper Inner8 live set is audio-visual, and my goal is to grow it as much as possible. My idea is to create a live show, which is a proper experience for the listeners, through the synesthetic approach I'm developing with sYn. As a live act, it is a lot more improvised than the Dadub live show. I don’t use a lot of software because I want something more physical. I am working to develop the technical and performative side of it, and sYn is digging more and more to give a proper visual identity to it, with the aim to develop the complexities of the performance. It is not as hard as it seems, because we love to improvise and create using our technical skills.

The live show is the best way for me to express the feelings that I have when I produce and think about my music. The aim is to really create a connection with the crowd and share these emotions with them. I think that by engaging with the crowd, I can connect on a deeper level. I think also that the live act is a great way of testing my music. By playing it in front of a crowd, I can see whether a sound works or not—or the opposite, of course.

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Hear Stunning Mark Fell Remix of "Oktavist" from Lakker Tundra Remix Collection http://www.xlr8r.com/news/2015/07/hear-stunning-marc-fell-remix-of-oktavist-from-lakker-tundra-remix-collection/ http://www.xlr8r.com/news/2015/07/hear-stunning-marc-fell-remix-of-oktavist-from-lakker-tundra-remix-collection/#comments Wed, 29 Jul 2015 12:34:51 +0000 http://www.xlr8r.com/?p=97571 Scheduled for August 14 release, the Lakker Tundra remix collection features a group of very talented producers bringing us their personal interpretations of the original album tracks.

Ahead of the album's August release, Mark Fell’s amazing reductive version of "Oktavist" can be streamed in full below.

Tracklisting:

01. Oktavist (Mark Fell remix)
02. Mountain Divide (Spaces Remix)
03. The Songs (Kyoka remix)
04. Pylon (Primitive World remix)
05. Milch (Acid Mondays remix)
06. Milch (Lahun remix)
07. Halite (Eomac Remix)
08. Ton’neru (Arad Remix)

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L.I.E.S. Readies Album from ADMX-71 http://www.xlr8r.com/news/2015/07/l-i-e-s-readies-album-from-admx-71/ http://www.xlr8r.com/news/2015/07/l-i-e-s-readies-album-from-admx-71/#comments Wed, 29 Jul 2015 11:51:49 +0000 http://www.xlr8r.com/?p=97561 New York techno veteran and Sonic Groove label head Adam X (a.k.a. Adam Mitchell) returns to L.I.E.S. this fall as ADMX-71 with the Coherent Abstractions LP. According to a press release, the forthcoming album traverses "breakbeat noir, anxious electronic dub [and] reflective industrial modes," in keeping with the more experimental profile of Mitchell's ADMX-71 project. (He appeared under the alias on L.I.E.S. last year as well, on the Redacted Files EP.) Resident Advisor reports that Mitchell also incorporates vocals into a handful of tracks, notably delivering a "frantic vocal performance" on LP cut "Nearing Obliteration."

Coherent Abstractions will see an official release on October 15. Opener "Virtuality Continuum" is streaming here, and the record's artwork and complete tracklist have been posted below.

admx71art_072915

01. Virtuality Continuum
02. Arrival Into Uncharted Territory
03. Neutralize & Eliminate
04. Phenomenalist
05. Conjectured State
06. Nearing Obliteration
07. Bound & Broken (feat. Janina)
08. My Theme Song
09. Anxious Solitude
10. Mystical Ascent
11. MGM_41-85

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Slow Riffs Next Up on Mood Hut http://www.xlr8r.com/news/2015/07/slow-riffs-next-up-on-mood-hut/ http://www.xlr8r.com/news/2015/07/slow-riffs-next-up-on-mood-hut/#comments Wed, 29 Jul 2015 10:15:04 +0000 http://www.xlr8r.com/?p=97552 Vancouver collective and label Mood Hut has unveiled details of its tenth release: Slow Riff's Gong Bath / Virgo Dub / Peace Arch EP. The producer born Ian Wyatt made an ambient cassette for the imprint back in 2013, and played with Pender Street Steppers' Jack Jutson and Liam Butler as No Gold. Elsewhere, he's appeared as Local Artist on Rhythm Section International and Anthony Naples' Proibito imprint. No official release date has been shared as of yet for the upcoming 12", which the label recommends "for healing use only," but clips from all three tracks can be previewed below. (via Resident Advisor)

A Gong Bath
B1 Virgo Dub
B2 Peace Arch

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Koloto "Kill Screen (Ekoda Map Remix)" http://www.xlr8r.com/mp3/2015/07/koloto-kill-screen-ekoda-map-remix/ http://www.xlr8r.com/mp3/2015/07/koloto-kill-screen-ekoda-map-remix/#comments Wed, 29 Jul 2015 00:19:49 +0000 http://www.xlr8r.com/?p=97501 Electronic music producer and multi-instrumentalist Koloto released the Mechanica EP via Abandon Building towards the end of last year, with Alpha Pup affiliate Dot's remix of the title track getting a feature in XLR8R's downloads section around the same time. Now, EP cut "Kill Screen" gets the rework treatment from UK artist Ekoda Map. Keeping true to the original's hauntingly beautiful quality, Ekoda Map winds together tight layers of skipping percussion and swirling synth tones to create a grandiose slab of sonics. Ahead of Ekoda Map's forthcoming EP, Fathers and Sons, which is slated for release late August, you can grab his remix of "Kill Screen" for free below.

Kill Screen (Ekoda Map Remix)

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Alpha Recording System Tease MODEL 9000 Rotary Mixer http://www.xlr8r.com/news/2015/07/alpha-recording-system-tease-model-9000/ http://www.xlr8r.com/news/2015/07/alpha-recording-system-tease-model-9000/#comments Tue, 28 Jul 2015 23:03:33 +0000 http://www.xlr8r.com/?p=97495 Following on from the news of the feature-rich ARS MODEL 6700, Alpha Recording System has teased out a new "table top DJ mixer," the ARS MODEL 9000.

Alpha Recording System shared a photo gallery on its Facebook page stating that the ARS MODEL 9000 is a Japanese made, all-hand-crafted DJ mixer. The unit features four channels, each with a three-band isolator and send/return for effects, as well as an overall master isolator and master and booth levels.

No price has been set yet but Alpha Recording System has stated it will announce that next month. You can check out more photos over at Alpha Recording System's Facebook page.

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Ostgut Ton Announces Nick Höppner Folk Remixes http://www.xlr8r.com/news/2015/07/nick-hoppner-folk-remixes/ http://www.xlr8r.com/news/2015/07/nick-hoppner-folk-remixes/#comments Tue, 28 Jul 2015 18:06:39 +0000 http://www.xlr8r.com/?p=97476 The remixes for Nick Höppner's debut album, Folk, will hit the shelves of your favorite record store on September 11. The vinyl includes remixes by The Black Madonna, Liit, Aardvarck, and Herva.

If you are looking for a mature, no-nonsense direction when it comes house and techno, you don't have to look any further than Nick Höppner and his debut full-length that dropped on Ostgut Ton earlier this year. The album truly shows the technical scope of Höppner as a producer, and we are thrilled to announce a stellar list of artists for the remixes. As for The Black Madonna, this will be the first production by the Smart Bar Music Director—and regular Panorama Bar fixture—to come out on Ostgut Ton.  There are no preview clips for the release as yet.

You can listen to some of the original tracks below, and you can check out more about Nick Höppner over on the Ostgut website.

A1. Relate (The Black Madonna Remix)

A2. Come Closer (Liit Remix)

B1. Grind Show (Aardvarck Remix)

B2. Rising overheads (Herva Remix)

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Premiere: Stream Jeffrey Scott's New EP on Sheik 'N' Beik http://www.xlr8r.com/news/2015/07/premiere-stream-jeffrey-scotts-new-ep-on-sheik-n-beik/ http://www.xlr8r.com/news/2015/07/premiere-stream-jeffrey-scotts-new-ep-on-sheik-n-beik/#comments Tue, 28 Jul 2015 17:47:45 +0000 http://www.xlr8r.com/?p=97475 On July 31, NYC label and collective Sheik 'N' Beik will release Jeffrey Scott's debut 12", Down To Art.

The sprawling three-tracker finds the Sheik 'N' Beik party mainstay pushing a trippy, minimalistic sound, perfectly fitting in with Sheik 'N' Beik's aesthetic. Produced with a mixture of hardware, software, and modular gear, the release kicks off with the funky, understated groove of "Under Aqua," before sliding into the wonky title cut and its sci-fi-like synth phrases and almost unrecognizable vocal lines. The release has a fluid and natural progression running throughout, with low-slung cut "Drum Morphing" beautifully rounding things out with its drum-machine rhythm and icy pads.

Ahead of the release later this week, you can stream Down To Art in full via the player below.

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DANGERDOOM Vinyl Re-issue Now Available http://www.xlr8r.com/news/2015/07/dangerdoom-vinyl-re-issue-now-available/ http://www.xlr8r.com/news/2015/07/dangerdoom-vinyl-re-issue-now-available/#comments Tue, 28 Jul 2015 14:53:41 +0000 http://www.xlr8r.com/?p=97463 It's been almost ten years since the initial release of The Mask and The Mouse by Danger Mouse and MF DOOM—dropped back on October 10, 2005—and for the hip-hop heads who have been searching for a nice used copy on discogs, the wait for a vinyl re-issue is finally over. You can now purchase a brand new copy of the record over at the Bleep.com web store.

The album is composed almost entirely of raps by MF DOOM, performed over beats created by Danger Mouse sampling music from various television shows airing on Cartoon Network's, Adult Swim, with their shared vision spread across 16 different tracks. The cover sleeve features a brand new Rorschach-esque design, and you can now purchase the album in multiple formats, such as double LP, CD, and lossless digital audio formats.

Head over to the Bleep.com website where you can order the vinyl before it sells out, and check out the Lex Records website for more information.

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XLR8R Podcast 397: Function - Decibel 2015 Festival Edition http://www.xlr8r.com/podcasts/2015/07/xlr8r-podcast-3976-function-decibel-2015-festival-edition/ http://www.xlr8r.com/podcasts/2015/07/xlr8r-podcast-3976-function-decibel-2015-festival-edition/#comments Tue, 28 Jul 2015 13:56:14 +0000 http://www.xlr8r.com/?p=97363 Dave Sumner, the techno DJ and producer better known as Function, grew up in Carnarsie, Brooklyn, across the street from a swim club that hosted dance parties in the late '70s and early '80s. From his backyard, he was exposed to the likes of Arthur Baker, John Robie, Kraftwerk and Man Parrish, beginning an intense love affair with synthetically-created music, and from there, the seeds of a career—an extremely impressive career, with a discography that's helped to define the serious-minded end of the techno spectrum—were sown. It would take a few thousand words to give you his full bio (there's something of a real-life "I was there" edge to his two-decade-plus  trajectory) but suffice to say that it's one that takes in NYC's Limelight club, his own Infrastructure label, a move to Berlin, a tumultuous stint as a core member of the Sandwell District collective, Berghain and its associated Ostgut Ton imprint, among many other things. (Phew!) Along the way, he's crafted a crateful of starkly emotive records, including a pair of acclaimed albums, 2013's Incubation (on Ostgut Ton) and last year's Games Have Rules, produced with Vatican Shadow and released on Hospital Productions.

Nowadays, Sumner doesn't play in the States all that often—but if you caught the upcoming Decibel festival's recent announcement, you got the good news that the fest's top-tier lineup includes Function among its names. As the festival approaches, XLR8R is lucky enough to present this exclusive Function mix. Comprised entirely of tracks that Sumner's had a hand in—whether via production or remixing—and with tracks dating from 1996 ("F3") to the present day (his version of Abstract Division's "Metropolis"), the music is rigorous and the vibe is moody, with stretches of dark-hued contemplation shot through with moments of joyful transcendence. And, we might add, it's utterly gorgeous. (Please note: Due to licensing restrictions, U.S. listeners will need to download this podcast.)

Function “F3” (Synewave)
Function feat Stefanie Parnow “Golden Dawn" (Ostgut Ton)
Abstract Division “Metropolis" (Function remix) (Dynamic Reflection)
Function “Disaffected" (Sandwell District)
Decimal “Melody Attack" (Sandwell District remix) (Soma)
Function “Modifier" (Ostgut Ton)
Function “Psychic Warfare" (Ostgut Ton)
Function “Variance II" (Sandwell District)
Function “Ember (Field)" (Sandwell District)

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Scissor & Thread Drop New Tailored Cuts Vol. 2 Compilation http://www.xlr8r.com/news/2015/07/scissor-thread-drops-new-tailored-cuts-vol-2-compilation/ http://www.xlr8r.com/news/2015/07/scissor-thread-drops-new-tailored-cuts-vol-2-compilation/#comments Tue, 28 Jul 2015 12:12:35 +0000 http://www.xlr8r.com/?p=97399 Francis Harris and Anthony Collins' imprint has released a new 10-track compilation available for download on Beatport.

The latest Scissor & Thread compilation features tracks by founding fathers Frank & Tony alongside some of the imprint's newer members Desert Sound Colony and Rosas Nievas. The compilation also includes two new remixes from Black Light Smoke, who has been working closely with the label since its formation.

Tracklist
01. Francis Harris - You Can Always Leave (Black Light Smoke Remix)
02. Desert Sound Colony - Iris
03. Frank & Tony - Villa Seurat
04. Lisa B - Lower (Black Light Smoke Remix)
05. Gry Bagøien - Signals
06. Francis Harris - Close Air
07. Glory Club - Under The Mask
08. Desert Sound Colony - Riverbed
09. Frank & Tony - Worked feat. Bob Moses (Kai Alce Remix)
10. Gry Bagøien - Pogo (Black Light Smoke Remix)

Scissor & Thread released Tailored Cuts, Vol. 2 on July 27, 2015.

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Sian "Post Empire" http://www.xlr8r.com/mp3/2015/07/sian-post-empire/ http://www.xlr8r.com/mp3/2015/07/sian-post-empire/#comments Mon, 27 Jul 2015 22:40:29 +0000 http://www.xlr8r.com/?p=97373 Following on from the release of his Medicine Man EP, Octopus Recordings label head, Sian, will release his latest LP, Anthracite, on August 3. The LP was composed with a collection of Moog Synths, a Korg MS-20, and an array of outboard effects, creating a 23-track, immersive techno journey. In support of the album, Sian has offered up exclusive cut "Post Empire," a rolling, dancefloor-focused slice of techno with an ominous flavor; crisp drum-machine rhythms and metallic synth stabs roll around on top of a floor-shaking bassline and chest-pounding kicks. You can download "Post Empire" for free below, with Anthracite available for purchase here on August 3.

Post Empire

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Halcyon Unveils its New Concept Store, Stellar Records Armory and Strategic Sound Center http://www.xlr8r.com/news/2015/07/halcyon-unveils-its-new-concept-store-stellar-records-armory-and-strategic-sound-center/ http://www.xlr8r.com/news/2015/07/halcyon-unveils-its-new-concept-store-stellar-records-armory-and-strategic-sound-center/#comments Mon, 27 Jul 2015 20:43:21 +0000 http://www.xlr8r.com/?p=97357 Following the unexpected and unannounced closure of its Dumbo location, NYC institution Halcyon has announced a new concept store, Stellar Records Armory and Strategic Sound Center, to open August 1 at 395 Wythe Avenue, Brooklyn, NY.

Based on Carl Sagan's famed Voyager Golden Record—a collection of tracks selected to portray the diversity of life and culture on Earth and sent into space on the Voyager II space probe—the Stellar Records Armory and Strategic Sound Center will be celebrated with an all day in-store party on Saturday August 1, featuring a host of Halcyon friends and family, plus special surprise guests and instore only discounts. The new store will also kick off halcyon's "Close Encounters," a new weekly DJ session on Wednesday evenings featuring the top local Brooklyn DJs and spotlights on labels distributed by Halcyon.

Check out the updated halcyon website here, with the official statement from halcyon below.

1977: The 100th Anniversary of the Phonograph. NASA Astrophysicist Carl Sagan presses a singular copy of humankind's greatest hits onto a solid gold record, shooting it deep into space aboard the Voyager II probe.

Etched onto the LP's surface was a galactic map revealing Earth's location in the cosmos;  a fateful invitation. Sagan proclaimed that the odds of the golden record actually being discovered are infinitesimal, but one day a beat-thirsty master race of intergalactic crate diggers may yet descend on Earth...

One force stands ready to defend the planet. Its mission: arm Earth’s DJs with stellar records at any cost.

halcyon… for humanity!

DJs - don’t be caught unarmed! Visit the new halcyon Stellar Records Armory and Strategic Audio Center opening Saturday Aug 1 at 395 Wythe Avenue next to TBA, or learn more about how you can defend the planet at halcyontheshop.com

 

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Recondite Shares Tracklist for Placid LP http://www.xlr8r.com/news/2015/07/recondite-shares-tracklist-for-placid-lp/ http://www.xlr8r.com/news/2015/07/recondite-shares-tracklist-for-placid-lp/#comments Mon, 27 Jul 2015 18:30:19 +0000 http://www.xlr8r.com/?p=97335 Over this past weekend, Lorenz Brunner, better known as Recondite, shared the tracklist to his upcoming full-length album, Placid, along with a tenative release schedule.

The Bravarian producer personally announced the news on Saturday when he posted a screen shot of his computer with the tracklist from iTunes on the Recondite Facebook page. Later on, when a fan commented on a release date, Brunner replied that the album would be out in late October. Another great piece of news is that we can now confirm a Tale Of Us feature on the song "Sequenze". Check out the tracklist below, and we will keep an eye out for pre-order information as it comes in.

You can catch Recondite in the USA this September as he headlines the Lucid Dream showcase just announced as part of the full lineup of Decibel 2015.

1. Compel
2. Pass Up
3.Undulate_LP_Version
4. Sequenze Ft. Tale Of Us
5. Pages
6. Subdue
7. Ley
8. Placid
9. Poised
10. Nifty

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David Scuba Low Toro EP http://www.xlr8r.com/reviews/2015/07/david-scuba-low-toro-ep/ http://www.xlr8r.com/reviews/2015/07/david-scuba-low-toro-ep/#comments Mon, 27 Jul 2015 17:33:06 +0000 http://www.xlr8r.com/?p=97330 David ScubaMr C's long-term partner in crime, Superfreq co-founder and NYC-hailing DJ don—brings a slice of intricate, interwoven polyrhythms in his latest EP, Low Toro, eschewing formulaic trends for an innovative approach to the dancefloor. The release's opening track, "Everything," boasts a trajectory that combines thumping kick drums, eerie vocal atmospherics, chanting FX and sweeping sub bass, but the real key to the track is its swing—there's plenty of bounce between notes and those crisp, crunchy floor-breaking beats. Its the sub bass, though, that makes "Everything" seem subdued, and slightly clipped and restrained. Next up is "Not Franc, fusing more springy grooves, sharp swing and uplifting tones. Wobbling, descending and gut-shaking sub bass, industrial percussion tones and sweeping atmospherics keep the track moving, while chiming bell-like synths and haunting vocal samples allow the tracks structure to bleed from the outer edges.

However, it's the stellar remixes on Low Toro that offer the most reward, with Pattern Drama taking on the first rerub of "Everything." Keeping the eerie atmospherics firmly in check, he goes for a slower electro-boogie workout, with popping percussion laid atop wide slabs of sub bass and resonating till the drop, amounting to a wholly original, captivating remix that adds a new level of sheen to the original. Finally, there's Finley's take on the track. His murkier reinterpretation works 808 pressure and percussion into a woozy, off-kilter and fluctuating techno rhythm. It ducks, dives and shifts from note to note, while layer upon layer of percussive nuances fill in the gaps between beats as the track progresses.

Dance music’s current shift from the confines of uniform "deep house" into the world of tech- and progressive modes is gaining pace faster than a download time for a VST plug-in—and Superfreq's focus on the hazy fringes of the dancefloor continues to be a welcome addition to the landscape.

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Physical Therapy and Michael Magnan Collaborate as Fatherhood http://www.xlr8r.com/news/2015/07/physical-therapy-and-michael-magnan-collaborate-as-fatherhood/ http://www.xlr8r.com/news/2015/07/physical-therapy-and-michael-magnan-collaborate-as-fatherhood/#comments Mon, 27 Jul 2015 16:15:27 +0000 http://www.xlr8r.com/?p=97324 Berlin expat Physical Therapy has teamed up with NYC-based friend and occasional collaborator Michael Magnan on a new EP as Fatherhood. Origami Sound imprint Clubwerks reportedly stumbled onto some of their joint tracks while trawling through SoundCloud a few years ago—specifically an edit of "Hide You"—and suggested they prep a release. The forthcoming Child Support EP comprises two originals: "Loleatta on Acid," a "wonky acid track" with a spoken-word sample, and skewed techno track "The Yes Man." Solo efforts from both producers also feature. The EP lands on August 18—preview it below.

1. Fatherhood "Loleatta on Acid"
2. Michael Magnan "Alright Um"
3. Fatherhood "The Yes Man"
4. Physical Therapy "Hospital House"

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Competition: Win Two Tickets to Autechre in Los Angeles http://www.xlr8r.com/news/2015/07/competition-win-two-tickets-to-autechre-in-los-angeles/ http://www.xlr8r.com/news/2015/07/competition-win-two-tickets-to-autechre-in-los-angeles/#comments Mon, 27 Jul 2015 16:00:13 +0000 http://www.xlr8r.com/?p=97221 Goldenvoice presents Autechre with Cygnus and Rob Hall (dj) at the Fonda Theatre in Hollywood, California on Thursday October 15.
The event marks the duo's first visit to Los Angeles in seven years, and XLR8R has two sizzling hot tickets to give away.

To enter for a chance to win the pair of tickets, enter your email below. Terms and Conditions apply.

Terms and Conditions

  •  Winners will be chosen at random from all valid entries received and verified by XLR8R.
  • The winner will be notified by email within 2 days of the closing date. If the winner cannot be contacted or do not claim the prize within 2 days of notification, we reserve the right to withdraw the prize from the winner and pick a replacement winner.
  • XLR8R will notify the winner when and where the prize can be collected.
  • Entries into the competition will automatically opt-in email for XLR8R.com weekly email newsletter, The Lowdown. User may unsubscribe at anytime.
  • The rules of the competition and the prize for each winner are as follows:
      • Only 1 entry per email address accepted
      • Must be 18 years of age or older to enter
      • Prize is for 2 tickets to Autechre at the Fonda Theatre in Hollywood, California, USA, on October 15th.
      • Winning tickets are non-transferrable and cannot be sold.  Valid ID must be presented.
      • Prize does not include transportation or accommodations, entry only.

 

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DVA Returns to Hyperdub, Shares Video http://www.xlr8r.com/news/2015/07/dva-returns-to-hyperdub/ http://www.xlr8r.com/news/2015/07/dva-returns-to-hyperdub/#comments Mon, 27 Jul 2015 14:55:54 +0000 http://www.xlr8r.com/?p=97316 After a brief hiatus, DVA is back on Hyperdub with the Allayallrecords EP. Described in a press release as "a stripped-back and vivid suite, using unusual spaces and loose arrangements so as to emphasize sharp rhythmic angles," it features collaborations with footwork manipulator Addison Groove, Swamp81 fixture Mickey Pearce, and Clara La San. 150 copies of Allayallrecords, pressed onto clear 10" vinyl with locked grooves, will become available on July 29, with a digital release to follow a month later. For the time being, preview the EP's opening cut below, where a complete tracklist is also on view.

01. DVA x Addison Groove "allyallrecords"
02. DVA x Clara La San "Pink22"
03. DVA x Mickey Pearce "Spoonbender"
04. DVA "Perxoflyf"

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Charivari Detroit, Then and Now http://www.xlr8r.com/features/2015/07/charivari-detroit-then-and-now/ http://www.xlr8r.com/features/2015/07/charivari-detroit-then-and-now/#comments Mon, 27 Jul 2015 13:00:35 +0000 http://www.xlr8r.com/?p=97188 It’s no coincidence that one of the first ever techno tracks shares a name—although not the spelling—with party brand Charivari Detroit. Event organizer and original Charivari Detroit brand promoter Todd Johnson explains, “[A Number of Names] had approached some of the guys in [Charivari] as far as seeing if it was okay. And nobody had a problem with it. Nobody even understood, like, making records back then. It was pretty much just some kids throwing parties. So it was more of a feeling honored thing than it was like someone was trying to co-opt your name.” Released in 1981, the first time he heard the track was, appropriately, at a Charivari shindig.

Named after a popular clothing store in New York City and canonized in Dan Sicko’s Techno Rebels, Charivari was a brand of high-school social club that preempted the formation of techno in early-'80s Detroit. Possessing marketing savvy beyond their years and casting a wider promotional net than their rivals, the Charivari brand was one of the more successful social clubs of the pre-techno era. The parties mostly took place in backyards, or spaces like the Y.W.C.A., the Park Avenue Club and the Rooster Tail. Averaging 400 to 500 kids at their parties, Johnson describes it as something out of a Charlie Brown episode, mixed with the mischief of Little Rascals. “Whenever you hear an adult in Charlie Brown it's just wah-wah-wah-wah. Like they didn't really exist. And that's how our parents were—the occasional adults were almost like cardboard cut-outs.It's like, where are the grown-ups? There are no grown-ups here!”

Far left, Todd Johnson; second from left, Eddie Fowlkes; right, Charivari co-organizers Steve Dunbar and Theresa Hill, along with Delano Smith. Photo: Marie Staggat

From left: Todd Johnson, Eddie Fowlkes, Chaunceia Dunbar, Charivari co-organizers Steve Dunbar and Theresa Hill, Delano Smith.
Photo: Marie Staggat

When venues like the Park Avenue Club would provide their own security, the ingenious youngsters would post them at the bottom of the stairs. Multiple floors up and directly outside the party hall, they would have their own hired guy holding things down. “[We were] mimicking what we thought 'being grown' was. You know, there were real clubs. I mean Studio 54 and all the New York stuff was happening then and all that. It was a group of kids being grown-ups,” Johnson explains of their motivation.

The first party Eddie Fowlkes ever attended was one such soirée at the Park Avenue Club. An all-black crowd, Charivari tended to attract kids from more affluent factions of the city. “I call it the black buppy kids. Like polo up. Extreme preppy. That was the scene,” Fowlkes recalls. It wasn’t uncommon for fathers to be judges, lawyers, or members of Motown groups. He paints for us an exuberant picture of a particularly successful backyard bash, during which the core Charivari crew wound up dancing to Devo’s "Whip It" on top of the garage, complete with plastic-tiered hats adorning their heads. “Back then, that was the beginning of blending,” he informs of those early '80s affairs’ musical influence.

“It's like we're all a bunch of Peter Pans, and the party business is like Neverland."

With Fowlkes, Johnson, and many others from Charivari’s original lineups still playing in more or less the same sandbox as they did back then, Johnson suggests, “It's like we're all a bunch of Peter Pans, and the party business is like Neverland. Some people never grow up…I mean look how many 60-year-old DJs are out there still [playing] for 20-year-olds. The music is timeless.”

A scene from last year's Charivari fest. Photo: Courtesy of Todd Johnson

A scene from last year's Charivari fest.
Photo: Courtesy of Todd Johnson

Having revived the Charivari name last August for a free two-day event in Detroit’s Milliken State Park, Johnson tells us, “I have something that I have always felt can exist, and I've never seen it and I've been chasing it for 30 years, 40 years now…I'm still chasing it. I'm chasing—this is gonna be sounding very corny—I'm chasing unity.” Asked whether he thinks it’s actually attainable. “Wow, I sure hope so,” he exhales, with a glimmer in his eye and a grin on his face. “It's kind of like our unicorn.”

His admirable ambitions are evident over the course of the conversation, which leads back to discussions of how to improve Detroit’s electronic-music scene and the ways in which local DJs can capitalize on the now multi-billion-dollar dance music market. “Why are there other DJs around the world making millions of dollars, but these guys still don't have cars?” he demands. “Some of them are still living with their moms! It doesn't make sense to me. We created some of this stuff. But yet, we're the lowest paid.”

Twice in the last year Johnson has organized group photographs with as many of Detroit’s DJs in one shot as he could muster. A simple and no-strings-attached effort to bring them all together, he has cultivated images as iconic as the music spawned by their subjects. “This particular culture, it's going to be extinct if we don't curate a little better and treat it a little better and bring more information,” he says. “I think this has to be treated like jazz and like country, everything. They really cultivate their stuff. And they treat it with reverence, shall we say. We're not treating it with reverence. We're treating it like this is some stupid subculture that just needs to go away.”

After more than thirty years of chasing his elusive unicorn, Johnson says he does it because he “likes the kill.” He goes on, “I like to see a plan come together. It's all about vision to me.” Right now that vision entails 10,000 Detroiters (and visitors) dancing and celebrating together on Belle Isle over the weekend of August 1 and 2—twice as many as are estimated to have attended last year’s inaugural Charivari Detroit.

Father Abraham at last year's Charivari fest. Photo: David Shanaman

Father Abraham at last year's Charivari fest.
Photo: David Shanaman

The upcoming event boasts the most Detroit DJs ever in one place, and includes multiple “Fallout Shelter” after-parties each night. Similar to last year, it embraces both old guard local legends that have been with Charivari since the early days, like Delano Smith, Al Ester and Fowlkes, as well as newer names like Loren, Aran Daniels and Pontchartrain, and even a few out-of-towners. Free and family-friendly, it’s shaping up to be a fun-filled, no-frills weekend of the utmost electronic acoustics and, dare we say it, an opportunity for true unity in the Motor City.

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Premiere: Stream Track from New Robert Logan LP http://www.xlr8r.com/news/2015/07/premiere-stream-track-from-new-robert-logan-lp/ http://www.xlr8r.com/news/2015/07/premiere-stream-track-from-new-robert-logan-lp/#comments Mon, 27 Jul 2015 10:41:03 +0000 http://www.xlr8r.com/?p=97298 Composer and producer Robert Logan’s first album Cognessence prompted an array of rave reviews and favourable comparisons to some of the giants of electronic music. Still only 19 at the time, he was described as “...something of a  prodigy... a man that is already showing a maturity and a musical/textural understanding that many simply never find.” [BBC]. A second album Inscape and a clutch of EP’s garnered yet more praise and cemented his reputation as an artist with immense talent.

Following the success of his recent Extasis EP, his first solo release in five years, Logan now returns with Flesh, his third full-length album that sees him further develop his idiosyncratic sound whilst continuing to open up new possibilities within the field of electronic music. As ever, Logan’s methodology is rooted in an obsessive desire to push the technology at his disposal to the limit – all his sounds are created from scratch or are created by deconstructing found sounds and acoustic instruments through extreme digital processes.

In advance of the album's September 21 release date, "Phrack" can be streamed in full below.

Tracklisting:

01 Spirit Wars

02 Phrack

03 Viker Raver

04 Lenticel

05 Vespine Domain

06 Solanoid

07 Goose Chatter

08 Straighten

09 Dendrite

10 Playground

11 Photovoltaics

12 Cyborg Horn

13 Glad Centipede

14 Transfigure

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Watch the Video for Disclosure's Latest Single http://www.xlr8r.com/news/2015/07/watch-the-video-for-disclosures-latest-single/ http://www.xlr8r.com/news/2015/07/watch-the-video-for-disclosures-latest-single/#comments Mon, 27 Jul 2015 10:12:18 +0000 http://www.xlr8r.com/?p=97295 UK duo Disclosure has revealed a video for their latest single, "Omen." Slated for release on August 21, a month ahead of the pair's sophomore full-length Caracal, the track features vocals from Sam Smith, who first teamed up with the brothers on their 2012 breakout single "Latch." The video for "Omen" was directed by Ryan Hope, and is said to continue the storyline introduced in Disclosure's video for "Holding On." Watch it below, and find more complete details of Caracel here.

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Premiere: Stream a Track From Nervous Horizon's V/A Vol. 1 http://www.xlr8r.com/news/2015/07/premiere-stream-a-track-from-nervous-horizons-va-vol-1/ http://www.xlr8r.com/news/2015/07/premiere-stream-a-track-from-nervous-horizons-va-vol-1/#comments Sat, 25 Jul 2015 01:11:23 +0000 http://www.xlr8r.com/?p=97217 On July 27, fledging UK label Nervous Horizon will release its first various artists compilation, V/A Vol. 1.

The label puts a heavy emphasis on bass-heavy house and techno, and continuing the trend set from its debut EP, Wallwork and RZR's Don't Panic, all 10 tracks presented here trade in a no-nonsense approach to dancefloor-focused beats. From the stripped back, deep melodic house of Tvsi's “Acquaflush,” to Lemonick's wild drum workout "Crash Cove," each track on the compilation is set to do damage on the floor.

Before the release drops next week—which will be available for purchase here—you can stream Luru's raw and heavy steamroller "Grunge Things" in full below, along with a preview of the compilation.  

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XLR8R Podcast Extra: Moomin B2B Smallpeople http://www.xlr8r.com/podcasts/2015/07/xlr8r-moomin-b2b-smallpeople/ http://www.xlr8r.com/podcasts/2015/07/xlr8r-moomin-b2b-smallpeople/#comments Fri, 24 Jul 2015 20:59:27 +0000 http://www.xlr8r.com/?p=97109 specialbanner
Hamburg, Germany's Smallville has good reason to be excited: The beloved imprint, an offshoot of the record store of the same name, is in the midst of marking a full ten years of deep beats, surviving a decade that saw worldwide economic collapse and changes to the music business that made label life harder than ever. Of course, a few good things happened as well—for one, plenty of great house music was released, and a ton of it ended up on the little super-label. With an emphasis on dreamy, low-key, yet spacious four-to-the-floor material—and a roster that includes Move D, Benjamin Brunn, Lawrence, Christopher Rau, Thomas Melchoir and Bruno Pronsato, among many other notables—Smallville's rarely taken a wrong turn over its long lifetime. The label will be releasing an anniversary compilation, 10 Years—Smallville Ways, in September—but why wait till then to celebrate, especially when a crew of Smallville stalwarts have bestowed such a groovy set upon us? This mix come courtesy of label founders Dionne and Julius Steinhoff, together known as Smallpeople, and Moomin, who also happens to have his second album coming out on Smallville soon—and it's an spine-tingling beauty, needless to say. Oh, and look out for a new Smallville imprint, the aptly named Fuck Reality, coming your way soon.

01 Theo Parrish “Shadow Dancing"
02 Smallpeople “Unreleased'
03 Jonas Palzer “Salt Shores" (Royer remix)
04 Moomin “Room 207"
05 Laguna Ladies “Egyptian Bag" (Moomin remix)
06 Francis Inferno Orchestra “Unreleased"
07 Smallpeople & TV.Out “Unreleased"
08 Berg “Montag"
09 Osunlade “Night Of Music"
10 Mike “Oi Van Voi"
11 Groove Magnifique “De Da"
12 Christopher Rau “A People See"
13 Nick Holder “Get Away"
14 Maus & Stolle “Adore
15 Berg “Melodien"

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SoundCloud Confirms Subscription Service is Coming http://www.xlr8r.com/news/2015/07/soundcloud-confirms-subscription-service-is-coming/ http://www.xlr8r.com/news/2015/07/soundcloud-confirms-subscription-service-is-coming/#comments Fri, 24 Jul 2015 20:51:46 +0000 http://www.xlr8r.com/?p=97173 Eric Wahlforss, SoundCloud chief technology officer and co-founder, has confirmed plans to launch a paid subscription service on the social sound platform later this year according to Tech Times.

This announcement comes after documents were leaked last month showcasing SoundCloud's plans to join Apple Music, Spotify and other similar music platforms with a two-tier subscription service.

In the past, SoundCloud has been criticized for not paying royalties to artists and labels accordingly.

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Gossamer "3d Relief" http://www.xlr8r.com/mp3/2015/07/gossamer-3d-relief/ http://www.xlr8r.com/mp3/2015/07/gossamer-3d-relief/#comments Fri, 24 Jul 2015 18:24:22 +0000 http://www.xlr8r.com/?p=97183 Evan Reiner (a.k.a. Gossamer) turned to electronic music production after attending Boston's Berklee School of Music and, we have to say, we're glad he did. Reiner trades in beautiful, nostalgic-tinged beat music, with a focus on field recordings and guitar work. His debut LP, Automaton, landed on the always-on-point Innovative Leisure imprint on July 10, and is a gorgeous collection of tracks driven by floating atmospherics and field recordings—from Tokyo to Pasadena’s eerie Devil’s Gate Dam. Like a drifting daydream, the LP wanders into your subconscious with a warm embrace, taking you into Reiner's delicate world and before you know it, the LP is on its third repeat through. In support of the release, Reiner has offered up LP cut "3d Relief," a four-and-a-half minute slice of electronics highlighting Reiner’s Asian influences. You can grab "3d Relief" for free below, with the full LP available here.

3d Relief

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Hi-Five: DJ T. http://www.xlr8r.com/features/2015/07/hi-five-dj-t/ http://www.xlr8r.com/features/2015/07/hi-five-dj-t/#comments Fri, 24 Jul 2015 17:29:00 +0000 http://www.xlr8r.com/?p=95117 Raised on disco and funk, steeped in Teutonic electronics, Germany’s Thomas Koch—better known to clubland citizens as DJ T.—is one of the founding fathers, along with the Booka Shade and M.AN.D.Y. duos, of Get Physical, the label that first came to prominence in 2002 through a series of releases that tended to focus on steely and spacious electronic house. But to some degree, Koch's sound stood apart from his labelmates: His productions tended to add plenty of boogie and bounce into the equation, and tunes like 2003's "Philly" sounded as good in the headphones while rollerskating down the boardwalk as the did on a dark dancefloor. Get Physical, of course, went on to be one of the millennium's defining clubland labels, and Koch is going as strong as ever. And now, there's this: Not only has Koch just released a splendid new EP, The Growing, on Moon Harbour, but Koch and Classic cofounder Luke Solomon (currently serving as the Defected label's A&R guru) have put together the three-disc compilation Defected Gets Physical Mixed by DJ T. and Luke Solomon, coming out in late August. Koch mixes disc one, a selection of tracks from the Defected vaults; Solomon tackles the second disc with tunes from the Get Physical discography; and the third sees Koch and Solomon contributing eight exclusive (unmixed) edits to the comp. In the run-up to the album's release, we tapped Koch to give us five of his favorite…well, we'll let the man himself explain.

"The older I get and the longer I work as a DJ (currently 27 years) the more discerning my ear gets when it comes to listening to club music. In the past five years, I put more time than ever before into listening to music and digging around for new gems. In the process, I realized that I generally divide club music (all styles as well as each individual track) into two large groups; timeless music that transcends decades and short-lived trends, and what some would call fashion music. You can’t miss the styles in the latter category; they completely dominated the scene for one to two years before inevitably turning into a formula that has been copied to death, then vanishing from the scene. The type of nu deep house with its bouncing baselines and deep-pitched '80s R&B samples suffered this fate, and new Minimal progressive house (or whatever you want to call it) that has dominated Beatport’s charts in the Deep House genre for the past 12 months is in for a similar fate. I have focused on timeless music more than ever before in the past three years, and I am increasingly losing interest in trendy fast-lived music formulas. Some of my most important roots are in '80s Chicago and acid house, which, in part, only needed a handful of elements, but this is exactly what made it sexy and funky, there’s just no other way to achieve this. Of course, hardly anyone today produces music that sounds exactly like it did back then, but old school house and techno have never fully vanished from the scene. Countless producers draw on these styles from the '80s and '90s and preserve the legacy of this music. That’s exactly that I wanna tell in this Hi-Five piece: the funk of reduction, simple drum machine madness all represented by five tracks that cite the old, but are still very much a product of the here and now."

Makam "What Ya Doin" (Dekmantel)
I’ve always liked it when tracks elude categorization. Makam is an underrated Dutch producer, a resident DJ at Trouw and a gifted DJ in general. His love of '90s house and techno emanates from all his tracks. “What Ya Doin” is a mixture of jacking Chicago beats, New York house, and a powerful shot of R&B all combined in a way you’ve never heard before. A track that definitely polarizes the dance floor, I’ve seen all types of reactions, from total indifference to collective orgasm.

 

Anthony Collins feat. Big Willy "Lie To Me" (HAKT Recordings)
What the hell was Anthony Collins riding when he produced this track? At least as far as I see it, “Lie To Me” is the complete opposite of everything the Frenchman has stood for in past years: elegant, minimal deep house. The vocalist Big Willy obviously must have had an influence here. The simple electro-funk of the piece reminds me of Detroit bass à la DJ Deeon or DJ Assault. If I had to categorize it, I’d call it minimal booty house. An obscure track on the obscure HAKT label, an enterprise of ex-DFA Records manager Justin Miller.

 

Blaze "Do You Remember House" (Flashmob Edit) (unreleased)
Ever since the two Italians carved out their own sonic niche four years ago with their first two critically acclaimed releases on Get Physical, they’ve held that spot. Reduced to the bare minimum, they produce old school Roland drum-machine house—sometimes suitable for the big room, sometimes deep and dreamy. My favorite track of theirs is “Do You Remember House,” which was never released; they only gave it to DJ friends as an edit of Blaze’s track of the same name. It always goes through the roof no matter where and when I play it.

 

Serge & Tyrell "Pump-o-Matic" (Clone Jack for Days)
What would the legacy of Detroit and Chicago be without all the people from the Benelux countries, who with unflagging zeal and burning reverence continue to fly the flag? One of the holy-grail epicenters is Rotterdam’s Clone—not just a label, but a store and a distribution company with a lot of related artists who all have one thing in common.: They make retro music that doesn’t just cite older music, but that strives to preserve the vibe of the past as authentically as possible. My favorite of all the sublabels is Jack for Daze, and my favorite track of theirs is “Pump-o-Matic.”

 

DJ T. "Dis" (Kink (909 Tool) (Get Physical)
Although his sound doesn’t embrace any of the current formulas in music, Strahil Velchev, a.k.a. Kink, has blossomed into one of the world’s most popular live acts over the past five or six years, to give him credit where credit’s due. His creative, sporty show offers the eyes and ears exactly what most of the others are missing. Kink seems to feel the way I feel: His heart beats for both Detroit and Chicago. That’s why his productions always sound like a mixture of both. His remix of my track “Dis” is one of the hardest productions I’ve ever heard him do; it’s just total drum machine madness.

 

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Event Review: Mike Servito B2B Derek Plaslaiko at Fine Time http://www.xlr8r.com/news/2015/07/event-review-mike-servito-b2b-derek-plaslaiko-at-fine-time/ http://www.xlr8r.com/news/2015/07/event-review-mike-servito-b2b-derek-plaslaiko-at-fine-time/#comments Fri, 24 Jul 2015 16:42:53 +0000 http://www.xlr8r.com/?p=96742 Back to back is a term that's become watered down over the last couple of years, mostly because promoters and DJs were using the phrase to describe the work of one man, done by two people.

Quite often you will see these words used on party flyers that are trying to double-stack a lineup with way too many unknown names, and other times its used carelessly to describe the transitional time between two DJs who happen to be using the same setup (weird, I know.) But every now and then, when two authentic DJs who share more than a decade of friendship decide to tag-team the decks for four hours and go double-duty on mixing between acid and techno and all the weirdness in between, you know you are in for something much more than two dudes who look like they are checkin' their emails together. If you look around hard enough, and keep your ear to the ground, you will find promoters like Fine Time who understand this concept and strive to showcase incredible DJs like Mike Servito and Derek Plaslaiko to show us how a back to back set is really handled.

Mike Servito

Mike Servito has recently become known as the uncompromising vinyl DJ that played four major gigs in less than 48 hours in Detroit this year for Movement— including a sub-headlining slot at the festival itself and a 3 hour slot at Need I Say More with long time friend, Carlos Souffront. Mike and Derek share a long relationship that goes way back to Detroit more 10 years ago, and continues to be something very special that translates into their music when they are playing together for their home label at The Bunker New York. As for Derek Plaslaiko, he proved his marathon worthiness as a DJ years before he was immortalized on the internet by Boiler Room for his 12-hour-mostly-vinyl DJ set that he performed from his house in Berlin. These guys are no strangers to putting in work when it comes to dance floors, and they truly defended the back to back title in what some people would call a Los Angeles techno title fight.

mikeservito5

Fine Time

When Mike and Derek are on the decks, there are no breaks going on at the turntables. Mike is constantly checking every variable degree of the record playback process and dialing in his tracks with druggy, filtered precision. Derek is working the CDJs, cueing up channels of perfectly crafted heady techno and hammering in classic slabs of acid house. Mike is digging through his overstuffed vinyl bag, looking for his next selection with an analog cigarette in his mouth, while Derek takes another pull from his e-cig. Mix after mix after mix the records do not stop coming out of Mike's mystery bag. Groups of newcomers are showing up to the party in swoths, and they are immediately crowding the area in front of the DJ booth, dangerously flailing themselves around to the booming bass, getting ever so close to disrupting the delicate yet volatile lifeblood of the party. Dedicated dancers begin to pray that none of these muppets bumps into a turntable. We close our eyes and continue to soak in the frequencies that are crafted from needle and groove, and we give praise to our higher powers for bringing together two DJs who are willing and able to put in the elbow grease that it takes to truly execute a back to back set.

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Derek Plaslaiko

Mike Servito and Derek Plaslaiko are not two DJs doing the job of one person, but rather, they are the managers of an acid and techno disposal site and they wanna know if you punched your time card. The room continues to swell with dancers all the way to the back to the bar, and the one singular bathroom in the entire venue eventually gives way to many of the dancers hanging around out front and pissing in the streets. The night concluded with long whistles and cheers that were nearly indeciferable to my ears after almost 5 hours of hard-pounding music. People ended their nights twirling and staggering off of the dancefloor. The sidewalk out front has become littered with beer cans and cigarette butts, and the cars parked down the side streets are now covered in flyers that, when left on the windshield, say "Pull me over, it's 4AM and I've been out all night." By the time I got home at 5am, I could barely hear myself breath in complete silence, due to the state of my blissfully ringing ears. Thank you to everyone at Fine Time for putting together this night. Check out the next dates that Fine Time has lined up for us. 

Saturday, August 15, with Carlos Souffront, Laurel Halo, and Los Angeles local consultant Matt McDermott.

Tuesday, August 25, in Echo Park with BalmsMedia Jeweler, and mAsis.

 

 

 

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Ed Rush & Optical Fabriclive 82 http://www.xlr8r.com/reviews/2015/07/ed-rush-optical-fabriclive-82/ http://www.xlr8r.com/reviews/2015/07/ed-rush-optical-fabriclive-82/#comments Fri, 24 Jul 2015 13:00:38 +0000 http://www.xlr8r.com/?p=97092 No one can question Ed Rush & Optical’s legacy in the world of drum & bass—after all, they're the undisputed godfathers of the neurofunk buzzsaw that sliced through the scene at the turn of the millennium. By emphasizing backbeats over breakbeats, they teased out the funk hiding beneath the surface of techstep, creating a growling roll that took the genre by storm. However, one might reasonably ask why Fabric offered them a turn at their venerable live mix series, nearly 15 years after their heyday. The relentless snares of the duo’s signature Virus sound helped kick off the rinse-out arms race that pushed drum & bass over the distorted edge, alienating all but the most tweaked-out fans by the mid 2000s—and only after lumbering in hibernation for a period of years was the genre revived with a renewed emphasis on melody and songwriting. There could be an argument made for Fabriclive 82 as a nod towards nostalgia, but there is little evidence that the public at large is clamoring for such a throwback. And while there are moments of the mix that pummel you into appreciation on force of will alone, the project comes across as a reminder of past excesses that feels out of (half)step with the current direction of the sound.

There is no mistaking the ride you are in for from the moment the album begins: It’s nonstop arpeggio synth stabs and time-warped bass as far as the eye can see. This makes sense, considering the tracklist is stuffed with Ed & Rush and Optical cuts both new and old, along with a cast of producers who are their undeniable progeny: Noisia, Teebee, and Konflict, for example. Of course, on one level, the way they stick to their guns is commendable. This is their sound, and the album plays as something of a victory lap in honor of their accomplishments—and tracks like “Chubrub” and the Noisia remix of “Messiah" still pack a punch. Unfortunately, the effect is weakened over course of 39 tracks, as they grab the music by the throat right out of the gate and almost never let it breathe. An increased focus on pacing and a moment or two of cerebral escape would have benefited the album well; instead, we are left with a tale told by respected veterans, full of sound and fury, but signifying stagnation.

 

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Hear Grasscut Remix of John Metcalfe's "Don't Let Go" http://www.xlr8r.com/news/2015/07/hear-grasscut-remix-of-john-metcalfes-dont-let-go/ http://www.xlr8r.com/news/2015/07/hear-grasscut-remix-of-john-metcalfes-dont-let-go/#comments Fri, 24 Jul 2015 10:00:14 +0000 http://www.xlr8r.com/?p=97152 Andrew Phillipps (a.k.a. "Grasscut") has remixed John Metcalfe's "Don't Let Go," one of the lead tracks on Metcalfe's beautiful The Appearance of Colour album which was released on June 8 via Real World Records. 

Grasscut:

"It was a pleasure to work on a remix for John, and I found the rhythmic viola playing in the second half of Parsal particularly inspiring. Remixes are often wonderful journeys of discovery, to try to create something different from, but complementary to the original track. I found myself layering John’s viola though pitch shifters and delays to create rhythmic effects, mixing in moogs, and even singing ‘y drws ar mor’ (a door to the sea) in Welsh, as a tribute to Parsal itself, a place in Gwynedd in mid Wales, where my family is from, and where John spends a lot of time.

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Toboggan "Vouvoyer" http://www.xlr8r.com/mp3/2015/07/toboggan-vouvoyer/ http://www.xlr8r.com/mp3/2015/07/toboggan-vouvoyer/#comments Fri, 24 Jul 2015 01:12:48 +0000 http://www.xlr8r.com/?p=97134 We last heard from Corey Martin (a.k.a. Toboggan) back in October of last year when he offered up his remix of Seapoint's "Wave Sequence." Now the Montreal native is back with an emotive new EP, Vouvoyer, out on Rare Beef on July 31. In support of the release, Martin has passed on the groovy title track, a beautifully executed dancefloor-focused cut. Kicking off with ping-ponging metallic synth work, "Vouvoyer" rides along with an array of exquisite production touches—a soothing vocal flows throughout its five-minute runtime, bookended by a thick, rumbling low-end with sharp, shuffling percussion sitting up top. Ahead of next Friday's release date, "Vouvoyer" can be grabbed for free below.

Vouvoyer

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Premiere: Hear Matthew Dear's "Around A Fountain 3D," From Space Trix Vol 1 http://www.xlr8r.com/news/2015/07/premiere-hear-matthew-dears-around-a-fountain-3d-from-space-trix-vol-1/ http://www.xlr8r.com/news/2015/07/premiere-hear-matthew-dears-around-a-fountain-3d-from-space-trix-vol-1/#comments Thu, 23 Jul 2015 22:02:45 +0000 http://www.xlr8r.com/?p=97115 Next Friday, Colour8 Records will release Space Trix Volume.1, a collection of ambient tracks by some of the most innovative artists in today's electronic music world including Matthew Dear (Ghostly International), Mike Slott (LuckyMe), Heathered Pearls, Claude Speeed, and Neon Jung (Magic Wire), among others.

The release explores 3D and binaural formats, which aim to transport the listener "inside the music," with elements from the tracks appearing from all around, truly immersing the listening into the sonic world envisioned by the artists. To give you an idea of the ambitiousness of the project, Matthew Dear's track "Around A Fountain" was mixed in a forest with the speakers placed amongst the trees, with the the track recorded from microphones placed inside CJ Mirra’s ears, placing the listener—when listened back on headphones—into the sonic environment exactly as it was intended. Each track from the album has been mixed in a similar way, sometimes real environments—like Dear's—and other times, virtual.

STP_Front1 - web

Space Trix Volume.1 will be available on July 31 as a digital download, and also as a limited edition box with a bespoke 3D-printed Cosmonaut by Swedish digital artist Andreas Olsson. The box will feature a USB flash drive with all the tracks, artwork, and video content. The box will be available from Bleep.com and colour8.org.

Ahead of the release, you can stream Matthew Dear's "Around A Fountain"—best enjoyed in headphones—below, along with the video teaser and video sampler.

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Watch Ableton's Short Documentary on Battles http://www.xlr8r.com/news/2015/07/watch-abletons-short-documentary-on-battles/ http://www.xlr8r.com/news/2015/07/watch-abletons-short-documentary-on-battles/#comments Thu, 23 Jul 2015 20:01:48 +0000 http://www.xlr8r.com/?p=97105 Ableton has just dropped a new documentary film on Battles.

The film gives an in-depth look into the band's New York rehearsal space, onstage at Immergut Festival, and in Rhode Island at Machines with Magnets studios—where the new album La Di Da Di was recorded. The 17-minute film provides a look inside the band’s set-up, its methods of composing, and the approach the repetition.

'Battles: The Art of Repetition' is streaming in full below.

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Premiere: Hear a Track From Henry Wu's Debut EP for Rhythm Section International http://www.xlr8r.com/news/2015/07/premiere-hear-a-track-from-henry-wus-debut-ep-for-rhythm-section/ http://www.xlr8r.com/news/2015/07/premiere-hear-a-track-from-henry-wus-debut-ep-for-rhythm-section/#comments Thu, 23 Jul 2015 17:32:40 +0000 http://www.xlr8r.com/?p=97080 Following on from standout releases on 22a and Alexander Nut’s Hotep imprint, Henry Wu's latest EP, Good Morning Peckham, will land on Rhythm Section International on July 27.

With a loose, jazz-infused heart beating through it, the six-track EP is arguably his most accomplished statement yet. Highly infectious good vibes run throughout the release, from the loose, running bassline of "Dubplate Special," to the soon-to-be classic spoken-word slur of "Croydon Depot," it's an EP that works as well on the home speakers as it does on the dancefloor.

Good Morning Peckham is another unforgettable release in Rhythm Section's catalogue, and one that should cement Henry Wu's name as on of the UK's brightest up-and-comers.

Ahead of the release next week—which can be preordered digitally here, or on vinyl here—you can listen to "Croydon Depot" in full below, along with the official video clip which was directed by Abdul Malik.

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Weekly Selections: Nina Las Vegas, Wolfgang Flur, ZIP & Fumiya Tanaka http://www.xlr8r.com/news/2015/07/weekly-selections-nina-las-vegas-wolfgang-flur-zip-fumiya-tanaka/ http://www.xlr8r.com/news/2015/07/weekly-selections-nina-las-vegas-wolfgang-flur-zip-fumiya-tanaka/#comments Thu, 23 Jul 2015 14:00:36 +0000 http://www.xlr8r.com/?p=96971 Tonight in Brooklyn, Australian radio host and DJ Nina Las Vegas visits Output to play the weekly club installment Input.

Friday night, catch the Romanian duo Livio & Roby together with friend George G perform as Premiesku live at DC’s Flash, while Moda Black’s Walker & Royce play Bar Standard in Denver, and Dave Clarke broadcasts his 500th White Noise show live from Dublin with guests Marcel Finger and Sunil Sharpe.

On Saturday outside Seattle, DJ Three and John Tejada head up the Decibel Showcase at the Cascadia Northwest Arts & Music Festival. In Chicago former Kraftwerk member Wolfgang Flur spins at Smart Bar with DJ Warp, and London’s Fabric lineup includes Perlon boss Zip with Japanese techno titan Fumiya Tanaka plus Detroit’s Stacey Pullen.

Piknic Electronik is alive and well on two continents all summer, this Sunday with Dirtybird’s Claude Vonstroke and Jimmy Edgar holding down the fort in Barcelona, while Montreal celebrates the annual visit of the MEG Festival with a co-curated program including artists Kill Frenzy, Mandiz and others.

LA’s open genre event series Check Yo Ponytail takes over the Echoplex on Monday night with Queen’s rapper Heems and techno-punk act Pictureplane.

As our event section grows we aim to offer suggestions for (almost) everyone, and if you missed it earlier in the week we now accept event submissions publicly from promoters via the green button on the events page. For more events and to search your city visit the XLR8R event page here.

THURSDAY JULY 23

mark-slee-500x375

LOUIE LOCO'S BDAY BASH FT. MARK SLEE

Flash - Washington, DC, US
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Delasi's #ThoughtJourney Album Listening Party Event in Berlin!

Wilma Art Gallery - Berlin, Wedding, Germany
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FEEL THE LOVE, LIVE FT. FOOTWERK

Flash - Washington, DC, US
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TBD with NO POMO * B ALARCÓN * DJ PUPPY * SPECIAL GUEST DJ

Smartbar - Chicago , IL, US
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INPUT | Nina Las Vegas/ Riton at Output

Output - Brooklyn, NY, US
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The Magic Number | GE-OLOGY in The Panther Room

Output - Brooklyn, NY, US
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Filsonik, George Konstantine, Leewae, Jordi Iven at Cielo

Cielo - New York, NY, US
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FRIDAY JULY 24

Flash premiesku

PREMIESKU LIVE AT FLASH

Flash - Washington, DC, US
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Walker & Royce

Bar Standard - Denver, CO, US
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Darius/ Golf Clap at Output with Punch Drunk Love/ Frank & Tony in The Panther Room

Output - Brooklyn, NY, US
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Framework presents Magnetic Moon with Rob Garza | Nadastrom | Festiva

Sound Nightclub - Hollywood, CA, US
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BREAD #2 w/Rabit, Korma, Sheen, Gewzer, Victoria Kim, Lyeform

F8 - San Francisco, CA, US
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FABRICLIVE 24.7 w/ Butterz, Ruff Squad & Blackout

fabric - London, London, United Kingdom
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Dave Clarke to broadcast 500th White Noise show live from Dublin

the academy - dublin, Ireland
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FINEST FRIDAY

Berghain/Panorama Bar - Berlin, Germany
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SATURDAY JULY 25

Martyn-the hundredjpg

TheHundred Presents - Martyn

Club Vinyl - Denver, CO, US
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DECIBEL SHOWCASE AT CASCADIA FEAT. DJ THREE, JOHN TEJADA, LEE REYNOLDS, NORDIC SOUL & ANNA LANGLEY

Masonic Family Park - Granite Falls, WA, US
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FINNEBASSEN, D-LUX & WHEELS, AND GOLF CLAP AT FLASH

Flash - Washington, DC, US
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TheHundred Presents - Sharam Jey

Club Vinyl - Denver, CO, US
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Deep Sense crew @ Bar Salmon

Unnamed Venue - Guadalajara, Jalisco, Mexico
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Public Works & ZERO (NYC) Present: The Scumfrog, DoubtingThomas LIVE, & Rachel Torro

Public Works SF - San Francisco, CA, US
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Droid Night | Cell Injection/ Luis Flores/ Justin Schumacher at Output with Dustin Zahn in The Panther Room

Output - Brooklyn, NY, US
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Sanctuary One with Justin Van Der Volgen (Golf Channel / My Rules), Tres Dubois & Ray Barragan

Golden Box - Los Angeles, CA, US
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Chicago Foundations with WOLFGANG FLÜR (MUSIKSOLDAT / EX-KRAFTWERK) * DJ WARP * SUPPORT TBA

Smartbar - Chicago , IL, US
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Toca NYC: Everyday, Davidson Ospina, Marko Peli at Cielo

Cielo - New York, NY, US
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Akashic Records presents EXISTENCE with Ellementz, AJ Mora, Divine Minds in Time, Le Chat Noir, Anthony Rise 07.25.15

FIND OUT MORE →

fabric 25.7 w/ Zip, Fumiya Tanaka, Stacey Pullen & Damaged

fabric - London, London, United Kingdom
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KLUBNACHT

Berghain/Panorama Bar - Berlin, Germany
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SUNDAY JULY 26

PE Barcelona july 25

Piknic Électronik Bcn #5 - Claude Vonstroke + Jimmy Edgar + Kosmos + Dj Zero

Jardins de Joan Brossa - Barcelona, Spain
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Piknic Electronik Montreal - July

Parc Jean-Drapeau - Montreal, QC, Canada
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Sundays on The Roof | Cabanne/ Alexi Delano

Output - Brooklyn, NY, US
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MONDAY JULY 27

CYP-Heems

IHEARTCOMIX, FLOOD Magazine, Origami Vinyl, & KXLU Present: CHECK YO PONYTAIL with Heems, Pictureplane, Bosco, & Speak!

The Echoplex (at The Echo) - Los Angeles, CA, US
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Monday Social feat. Sydney Blu at SOUND

Sound Nightclub - Hollywood, CA, US
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TUESDAY JULY 28

EXTRADARKposterJULY

Extra Dark

Kung Fu Necktie - Philadelphia, US
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WEDNESDAY JULY 29

Morning Glory SF July

Morning Gloryville San Francisco #14 ~ Rave Your Way into the Day!

1446 Market - San Francisco, US
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SUM WEDNESDAY ON THE ROOF | Justin/ Zak Moon/ Taylor Shockley

Output - Brooklyn, NY, US
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NU ANDROIDS PRESENT: SECONDCITY AT FLASH

Flash - Washington, DC, US
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Howling/ Âme (live) at Output

Output - Brooklyn, NY, US
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Clinic with YokoO (All Day I Dream) & Guests

Couture - Hollywood, CA, US
FIND OUT MORE →
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Ostgut Ton Announces Plans to Celebrate 10-Year Anniversary at Berghain http://www.xlr8r.com/news/2015/07/ostgut-ton-announces-plans-to-celebrate-10-year-anniversary-at-berghain/ http://www.xlr8r.com/news/2015/07/ostgut-ton-announces-plans-to-celebrate-10-year-anniversary-at-berghain/#comments Thu, 23 Jul 2015 13:44:57 +0000 http://www.xlr8r.com/?p=97027 In celebration of its 10-year anniversary, Berghain has announced plans for the weekend August 15/16, kicking off Saturday around midnight and ending sometime during the day on the following Monday.

The all-star techno line-up will include long-time residents Ben Klock, Marcel Dettmann and Marcel Fengler alongside some of its most recent star residents Function and Answer Code Request.

Anthony Parasole, Boris and Nick Höppner are amongst the big names that will be showcasing their talents at the Panorama Bar and a live set courtesy of Steffi and Virginia will also be amongst the acts we can expect for the night.

The Elektoakustischer Salon will host artists of the likes of Efdemin and Tobias.

 

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Stream Sau Poler Remix of Taragana Pyrjarama Track http://www.xlr8r.com/news/2015/07/stream-sau-poler-remix-of-taragana-pyrjarama-track/ http://www.xlr8r.com/news/2015/07/stream-sau-poler-remix-of-taragana-pyrjarama-track/#comments Thu, 23 Jul 2015 13:17:04 +0000 http://www.xlr8r.com/?p=97028 Danish producer Taragana Pyjarama (a.k.a Nick Kold Ericksen) follows his earlier Ariel EP with an impressive collection of five remixes.

Ahead of the EP's July 24 release date, the Sau Poler remix of "Givers" can be streamed in full below.

Tracklisting:

01 Ber (Round Remix)
02 Ariel (Olde Gods Remix)
03 Givers (Sau Poler Remix)
04 Ber (IVVVO Remix)
05 Together (Kenton Slash Demon Remix)

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In the Studio: Lucy http://www.xlr8r.com/features/2015/07/in-the-studio-lucy/ http://www.xlr8r.com/features/2015/07/in-the-studio-lucy/#comments Thu, 23 Jul 2015 13:00:23 +0000 http://www.xlr8r.com/?p=96812 Italian-born Berlin-based Luca Mortellaro (a.k.a. Lucy) is a stalwart of the modern techno scene. His productions, many of which are released through his flowering Stroboscopic Artefacts imprint, drift between those made to make people dance and those that serve as more experimental, ambient works—as captured beautifully on his 2011 debut LP, Wordplay for Working Bees. But while many artists become captives to the glamor that success in music can bring, Lucy's motivations remain pure and untarnished by celebrity; for him, music is is an utter necessity for his contentment, a fundamental tool of his self-expression that allows him to to prosper. After spending time in his Berlin studio, this last point became very apparent.

Photo:  Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

Can you remember when you first started making music?
I was around 15 years old. I was at high school, living in Palermo and I started doing very experimental and ambient stuff. I didn’t get in touch with the dancefloor world until way, way later. It started in a funny way because there was only one record shop where you could buy weird stuff. In this shop where I was buying all my vinyls, they had some old Roland machines set up, like a 303, 808 and an SH-101, so you could just play around in the shop, having fun. At the beginning I was just messing around, getting into it, and then one day the record shop owner offered me the vinyl of the record that made me what I am artistically today: Selected Ambient Works by Aphex Twin. It was amazing because I could hear these machines being used in a way that was completely out of this world, and I just realized that this might be a good way for me to express myself on a deeper level.

Then, when I was living in Tuscany after I had moved to go to university, I met this guy who was one of the most brilliant production minds I have ever met. He was born in a commune in Tuscany and played his crazy live act at lots of illegal raves with mountains of synths but, by philosophy, he never wanted to release anything—he was even approached by Rephlex! It was so fascinating, just how uncompromising he was with the music business. I even contacted him ten, eleven years later when I opened up Stroboscopic Artefacts—and he still didn’t want to release anything.

One day, I went to his house in the countryside close to Sienna, and there he opened up my mind. I went there just for an afternoon and I ended up staying for five days, almost without sleep, just playing around with stuff and recording on cassette tapes —t was completely intense. That was the moment I realized that this was the best way for me to express myself.

So your initial production was all analog?
Yes—my initial production was only on machines because I didn’t have a computer back then. We just had this massive family PC when I was a teenager, and that was it. It was all on machines, and I was slowly getting these machines, so we just met up and had some cool jamming sessions together.

And when did you start to acquire your own equipment?
Only quite recently, actually—only when I could afford it. It must have been about five or six years ago, when I started playing more gigs and I had the money to buy all the equipment that I already knew very well but didn’t actually have on my own. For me, it is a very slow process—every piece of equipment that comes into my studio is for a reason. I don’t just put stuff in here that will stay in a corner; I have to be sure I need it, instead of just trying out stuff. So it takes a while for me to add something new. It has to really be the right thing.

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

So you had no studio when you were living in Paris in 2005?
No, I had a home studio. I was just with three friends and none of us had any money. Through working at restaurants and stuff, we managed to buy one 808 between all of us. We started playing with it and we had a few friends who lend us equipment now and then, and that was it. We were sampling it and giving it back. At the same time, and even before Paris when I was in Palermo, I also had slowly started using a laptop. I quickly realized how flexible this can be.

Looking back at it now, it was very intuitive. At that time, there was just a flow of things that happened but there was no specific agenda. I didn’t even know that my life would be in the music until about five years ago.

So when did you move into this studio?
I moved into here three years ago.

And how did you choose this one specifically?
That’s very interesting! To be honest, it is all to do with the general Berlin feel. Over the years, I have started to move more and more into the periphery of Berlin because I just do not like it when things get too professional or too high end. When I moved to Berlin, I was living in Kreuzberg and I saw that people with very established businesses were starting to find studios around those areas. Aat some point, I was missing the place that I had come from…like random people trying out shit! Then when I saw this place, it was almost empty at the start—but I understood what the intention was, and I like it. It can get very dirty, and I have seen some pretty hardcore scenes on the stairs; it is the kind of world that I do not feel part of,  but it is where I feel most comfortable.

"It can get very dirty, and I have seen some pretty hardcore scenes on the stairs, but it is kind of world that I do not feel part of but it is where I feel most comfortable."

Do you feel that having a studio separate from your own home affects the creative process of your music?
Yes. I had a home studio for a long time until music became my profession. When it became my profession, it became very important for me to completely separate it from my private life. When your work has something to do with artistic expression, and when it is so personal, everything can become confused very quickly—which is a treasure on one side, but if you allow it to go too much into your private life it can become very messy.

For me making music is not an innocent or funny process. I wouldn’t describe making music as fun. It is something I have to do. It is a must. I have to make music otherwise I really freak out. I can feel the energies inside me going in wild and dark directions, so I need to put that bubble outside of me. Producing music is a very soothing and cathartic process. I have to take these bad energies out of me and give it an artistic shape. I can then observe it; I can look at it, but it isn’t inside me any more.

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

How you maintain this divide? Is it very much work inside the studio and then fun outside of it, or does the production process go around the clock?
I certainly don’t forget about music when I go out the studio. I have a love-hate relationship with music and art in general. Before making music full-time, my main activity was writing and before that I was painting. I have always had the same kind of relationship with art: Sometimes I can find meaning and I immediately feel like I know why I am in this world, and what I am doing here. Other times my art feels like it is destroying me. I will sit there after a really emotionally-draining session and I will just want to close the door and try to go out, relax and do something completely different to turn off the mind.

"For me making music is not an innocent or funny process. I wouldn’t describe making music as fun - it is something I have to do. It is a must."

Do you approach your recording sessions like a nine-to-five job?
Certainly not. Going to the studio will fuck up all my plans. Sometimes I will even try to avoid going to the studio even when I feel like I should. But I will feel this thing growing inside me and when I really cannot hold it anymore I will run here to the studio and I am way more effective than I normally would be. It’s because this urgency becomes so strong that when I step in the studio, it all happens so quickly. For me, it is important that I keep a distance between what is going on emotionally and what is happening sonically as short as possible, because every second wasted is a loss.


So do you never produce at home, even when you have an inspiration?
No. Never. This is something I completely avoid. I do not produce at home; I do not produce when I am traveling, even if I could with a laptop. For me, it has to be a sacred space where I know that when I step in my mindset is on producing music only.

"For me, it is important that I keep a distance between what is going on emotionally and what is happening sonically as short as possible, because every second wasted is a loss."

If you talk with a lot of producers nowadays and lots of them will produce sketches on the road, even if they take them back to the studio to complete them.
Yes. It’s very strange. I have had this discussion many times. People will often ask me why I am stressing over deadlines for this and that, and they will tell me to just do it on my laptop. I always tell them that I probably could—but I also can't, because I know the result is something that would not be satisfying for me.

In terms of making your music, just how much of it is organic versus the computer?
Digital is still very important for me, mainly for like final arrangements and being precise in the final structure of a song. But the source of sound and most of the modulation sources are analog things.

And what software do you use?
I use Ableton as a final sequencer for main song arrangements and, in a way to mix down.

Even though Logic is the more studio-friendly software?
If I didn’t use an external mixer to make final mixdowns, which normally I record on tapes, then I would use Logic because the sound is far more accurate, precise and spacious. But if you are looking for headroom and if you are using an external mixer, then Ableton is a lot better than Logic. I can use the flexibility of Ableton without needing to compromise the sound quality.

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

Talk me through the production technique of a track. Would you say that tracks are normally conceptualized prior to writing and recording, or are they a result of spontaneous jamming and random ideas?
I don’t really work track-by-track. My library of projects is constantly moving and evolving: I have about 15 projects which I am working on at the same time. I record a little bit there, a little bit here and then at some point some elements begin to resonate and that is when I begin finalizing a track, or an EP, or an album. I just don’t work on a track-by-track basis, unless it is a remix—then I focus on what I have. But for my own productions, it’s like I am working on this large palette of soundscapes which I gradually refine and filter until the moment when it nearly complete.

What forms the basis of each project?
It’s always the synths. I always start just literally plugging cables, trying out stuff and starting to understand the mood. I play with some sequencers, some tempos and intersections, and then I start adding in effects, even as a kind of sound source…because that’s what I like to do. Sometimes I will use them as a delay—or even as an instrument, like Lee “Scratch” Perry. So that’s how it starts, and then I start recording these sessions. At the end, often in other sessions when I am more in the mood of not going to the sound source, I just play with these recordings to see what I can get out of them.

"The less you pollute that natural expression of yourself, the more sincere the result will be to you."

Would you say that the unpredictability of the gear leads to some surprises in your music?
That’s the beauty of it. When you approach it from an external point of view, it looks like I have no idea what I am doing—and in the end, I just have some strange sounds. But actually when you look at it carefully, you actually realize that it is not that way. It is not complete unpredictability; it is more like a game of probability, because in the end you will shape the sounds in a way that is very yours, even if there is a range of unpredictability as to how that sound will be. That range of unpredictability is limited because, even subconsciously, you limit, sculpt and direct these sounds in a certain direction and not in another. In the end, the more you do it in an uncompromising way—meaning in a way that is true to yourself and not to the music business—the more you will feel just how tight someone’s artistic integrity will be. That’s just how it is, because it is true and sincere. The less you pollute that natural expression of yourself, the more sincere the result will be to you.

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

My old masters, like the early Aphex Twin and Lee “Scratch” Perry, taught me that from just one basic piece of equipment, like an oscillator, you really can do a lot. Sometimes the less you have, the more you are pushed to really get something different out of it.

It really is a relationship between the machines. It is not just me directing the orchestra; it is the orchestra driving me where to go. And, for me, this is the richness. If it wasn’t this way it would be boring to just obtain exactly what you wanted to obtain. It’s beautiful—and mistakes, like unpredictable modulations, are really the base for me. These mistakes are the projects that become releases and that I filter out from the rest.

"It really is a relationship between the machines. It is not just me directing the orchestra; it is the orchestra driving me where to go."

Talk me through the production process for your albums, Wordplay for Working Bees and Churches Schools and Guns. Did you intend to produce an album each time?
No. It was the same palette system I mentioned. The first album was very different from the second one. In the first one there were elements that I produced when I was 15 and so I had a huge amount of material. For the second one, after the first one which was such a creative effort, I felt really dry for a while. I had a need to restart, like I wanted to do a full stop—and start again from scratch. So the second album was elements and things that happened in those three years after the first album, tracks and versions of tracks that I had never released, and all that kind of stuff with new productions. At some point, all those elements began to make sense together and I could see from the sheer size of it that it was going to be an album. There was just a lot of material and it just started to make sense as an album.

After that, the more lucid mind came into play, because an album is an important statement for an artist so I had to think about structuring it in the right way. That’s where other important impulses come in. It is in these moments where I feel the power of the art, where I feel crazy rage or crazy depression. Those are feelings that are very important for my musical processes.

Are you very critical with your productions?
No. I am quite immune to any kind of external critics, as long as I know that the music makes sense. If it doesn’t, then I know that it doesn’t and it was a mistake to release it. Other times I find that the most controversial releases I did, like the ones where my fan base is pissed, are the most important ones. They, for me, are the ones that shape your identity. This is me sacrificing a little bit of immediate glory to get what I want in the long term. I am not very critical because, in the end, if it becomes a release, then I know it made sense at that point.

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

Photo: Nico Seringe - Another Sidewalk

Photo: Nico Stinghe - Anothersidewalk

Do you ever suffer from production blocks?
Not a lot. But I know what production block is for me. After a major artistic effort, like my first album, then I really need to a break. Normally it doesn’t last more than four or five months. I feel like I am in a lucky position because I have one foot in dance music and one foot in abstract productions and that allows me refind freshness constantly, continually oscillating between the two. It’s important for me that I am not a monotone producer, and I have to be able to refresh my output by stepping into something completely different.

Do you show your tracks to someone before they are released?
Yes, I will show my friends. I actually love showing it to people who don’t know anything about electronic music, like who have never been in the club world at all, and don’t drink or do drugs. I even like showing it to elderly people. I think this is a really precious point of view.

One of my best friends is 56 years old now; he runs a bookshop in Italy. I was showing him this stuff and he said how powerful it was, but he simply said I should use fewer drums. It was the most basic shit, and that left me so inspired—so I decided to do a series of things to challenge myself to be compatible with the dance music world, but with a completely different approach. It was so precious in the end, and it really shaped the sound of the first album. As a result, I think there is only one or two tracks from the first album that you can play in a club—and the rest were completely abstract. And that wasn’t a time when completely abstract things were in fashion; it was a time when DJ albums were dancefloor albums, at least in techno, and it was so strange because I put it out without any expectation…and this was the time when my DJ career really grew. Techno clubs immediately became immensely interested in having me, despite my business card saying I was a completely different artist. This completely amazed me at the time.

How do you know when a track is done?
With final arrangements, I am very careful. All that intuitive volcano activity in my mind stops —it is like I am checking the final arrangements because it has to sound good. This final phase is really important and it becomes clear in my mind that the track is now complete.

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Premiere: Stream a Track From the New Kasket EP http://www.xlr8r.com/news/2015/07/premiere-stream-a-track-from-the-new-kasket-ep/ http://www.xlr8r.com/news/2015/07/premiere-stream-a-track-from-the-new-kasket-ep/#comments Thu, 23 Jul 2015 11:07:09 +0000 http://www.xlr8r.com/?p=96968 Next week, Charlie Baldwin will return to Apollo Records as Kasket with the five-track Egal EP.

Drenched in jazz and psych, and taking cues from prog and latin music, Egal is a highly textured and mature-sounding EP that doesn't sit in one place for too long; from chaotic jazz-tinged opener "Wait For It" and the breakbeat soul of "Hollywood," to the trip-hop-infused trio of tracks that close the EP—"It's A Shame," "Eric's Jam," and "Egal"—Baldwin has crafted a brilliantly varied release with a world of sound to dig into.

Out on Apollo on July 27, "Egal" is streaming in full below. 

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Stream Snippets from the New Various Artists EP on Life and Death http://www.xlr8r.com/news/2015/07/stream-snippets-from-the-new-life-and-death-various-artists-ep/ http://www.xlr8r.com/news/2015/07/stream-snippets-from-the-new-life-and-death-various-artists-ep/#comments Thu, 23 Jul 2015 10:42:31 +0000 http://www.xlr8r.com/?p=97011 The Life and Death imprint have announced a new Various Artists EP with tracks from Scuba, Locked GrooveSei A and Alex.Do.

The four-tracker is scheduled for digital release on August 3, with the 12" available on September 25.

Tracklist:

A1. Sei A - Hyper Venom

A2. Locked Groove - Eleven

B1. Scuba - Glacial

B2. Alex.Do - Rising

Ahead of the EP's release, track snippets can be streamed below.

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Amsterdam Dance Event Announces First Festival Acts for 20th edition http://www.xlr8r.com/news/2015/07/amsterdam-dance-event-announces-first-festival-acts-for-20th-edition/ http://www.xlr8r.com/news/2015/07/amsterdam-dance-event-announces-first-festival-acts-for-20th-edition/#comments Thu, 23 Jul 2015 09:44:08 +0000 http://www.xlr8r.com/?p=97008 The  Amsterdam  Dance  Event  (ADE),  the  world's  biggest  club  festival  and conference for electronic music, today reveals the first selection of artists that will  perform  from  October 14-18.

The ADE  is  preparing  for  its  20th annual edition  with  2,200  performing  artists  at  one  hundred  of  the  most  diverse venues  in  Amsterdam. Over 365,000  visitors  from all  over  the  world are expected to visit the event this year.

Currently over 500 artists are confirmed. Among the first selection announced today are:

&Me  (DE),  Adam  Beyer  (SE),  Adriatique  (CH),  Agoria  (FR),  Alan  Fitzpatrick  (GB), Alesso (SE), Andhim (DE), Antal (NL), Anthony Parasole (US), Apollonia (FR), Armin van  Buuren  (NL),  Art  Department  (CA),  Axwell  Λ  Ingrosso  (SE),  Black  Coffee  (ZA), Bonobo (GB), Boris Werner (NL), Carl Cox (GB), Cassy (AT), Cleavage (NL), Chris Liebing (DE), Cristian Varela (ES), Damian Lazarus (GB), Dauwd (GB), Dave Clarke (GB),  David  Guetta  (FR),  De  Sluwe  Vos  (NL),  Dimitri  Vegas  &  Like  Mike  (BE),  DJ Rush (US), DJ Sneak (CA), DJ Qu (US), Donato Dozzy (IT), Dubfire (US), Fernanda Martins (BR), Fort Romeau (GB), GE-OLOGY (US), George FitzGerald (GB), Green Velvet  (US),  Guti  (AR),  Happa  (GB),  Hardwell  (NL),  Henrik  Schwarz  (DE),  Horse Meat Disco (gb), Hot Since 82 (UK), Hunee (DE), I-F (NL), Ici Sans Merci (NL), Ida Engberg (SE), Jeff Mills (US), Joran van Pol (NL), Joris Voorn (NL), Joseph Capriati (IT),  Julian  Jeweil  (FR),  Karmon  (NL),  Kate  Boy  (SE),  Kollektiv  Turmstrasse  (DE), Kolombo  (BE),  Kraak  &  Smaak  (NL),  Len  Faki  (DE),  Leon  Vynehall  (US), Levon Vincent (US), Maceo Plex (US), Machinedrum (US), Malawi (NL), Marcel Fengler (DE), Markus Schulz (US), Martin Garrix (NL), Matador (IE), Matthias Tanzmann (DE), Menno de Jong (NL), Midland (GB), Monika Kruse (DE), Moodymann (US), Nicky Romero (NL), Nicole Moudaber (GB), Nina Kraviz (RU), Noisia (NL), Nuno dos Santos (NL), Octave One (US), Odesza (US), Oliver Heldens (NL), Osunlade (US), Pan-Pot (DE), Paul Oakenfold (GB), Perc (GB), Petar Dundov (HR), PETDuo (BR), Petre Inspirescu (RO), Posij (NL), Raresh (RO), Rebekah (GB), Rebolledo (MX), Ricardo Villalobos (CL), Richie Hawtin (CA), Robert Hood (US), Robin Schulz (DE), ROD (NL), Romare (GB), Ron Morelli (US), Ron Trent (US), Rødhåd (DE), Sandrien (NL), Santé (DE), Scuba (UK), Seth Troxler (US), Showtek (NL), Sidney Charles (DE), Solomun (DE), Speedy J (NL), Stanislav Tolkachev (UA), Stefano Noferini (IT), Surgeon (GB), The Gaslamp Killer (US), The Hacker (FR), The Martinez Brothers (US), Tiësto (NL), Truss (GB), Tsepo (NL), Tyree Cooper (US), Vicetone (NL), Yellow Claw (NL) and many more.

More information on the event can be found here and here. 

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Premiere: Hear a Track From the Latest Wa Wu We (a.k.a. Sebastian Mullaert) Release http://www.xlr8r.com/news/2015/07/premiere-hear-a-track-from-the-latest-wa-wu-we-a-k-a-sebastian-mullaert-release/ http://www.xlr8r.com/news/2015/07/premiere-hear-a-track-from-the-latest-wa-wu-we-a-k-a-sebastian-mullaert-release/#comments Thu, 23 Jul 2015 00:21:31 +0000 http://www.xlr8r.com/?p=96964 Next week, Sebastian Mullaert (a.k.a. Minilogue) will drop Wa Wu We 02, the second of six Wa Wu We "episodes."

All six of the episodes will be vinyl only, with only 500 copies of each made available. The episodes will be all united by their unique cover art and the way in which they are recorded: "a focus on improvising expression, resting in meditation and the nature surrounding Sebastian’s studio."

Ahead of the July 27 release, XLR8R is exclusively streaming the gorgeous A1 track via the player below. Unfolding gracefully across its 16-minute run, the track perfectly encapsulates the project, with floating, organic ambience swirling underneath groovy drum-machine percussion and a plethora of glistening synth work.

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Octave One, Phuture, and Thomas Melchior Announced for Bacchanale Festival http://www.xlr8r.com/news/2015/07/octave-one-phuture-and-thomas-melchior-announced-for-bacchanale-festival/ http://www.xlr8r.com/news/2015/07/octave-one-phuture-and-thomas-melchior-announced-for-bacchanale-festival/#comments Wed, 22 Jul 2015 21:39:35 +0000 http://www.xlr8r.com/?p=96951 For two years now, La Bacchanale has hosted an array of experiences throughout the city of Montreal and in September will host its first festival, Bacchanale Festival.

The first edition will be 'Ancient Future,' "a nomadic electronic music festival offering a multidisciplinary experience" and featuring some of house and techno's pioneers alongside some of the genre's rising artists. The first wave of acts announced include Octave One [Live], Phuture [Live] (Dj Pierre & Dj Spank), Lil Louis, Omar S, Thomas Melchior, Extrawelt [Live], and Moomin.

You can find more information on Bacchanale Festival—which takes place in Montreal's Old Port at Quai De L’Horloge and Hangar 16 from September 18 to September 20—here, which includes the full first wave artist lineup, location info, and tickets.

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The Cleer Consortium "Cleerly Jazz" http://www.xlr8r.com/mp3/2015/07/the-cleer-consortium-cleerly-jazz/ http://www.xlr8r.com/mp3/2015/07/the-cleer-consortium-cleerly-jazz/#comments Wed, 22 Jul 2015 20:22:51 +0000 http://www.xlr8r.com/?p=96944 The Cleer Consortium is made up of four UK-based artists—Binni, Suade, Clarke Sawkill, and William Welt—who met through the Newcastle club scene and the Cleer club night, which has played host to some of minimal and techno's finest DJs, from Steffi to Matt Tolfrey. The quartet also run the Eye Shadow label, kicking it off with Eye Shadow 001, a now sold-out vinyl-only release featuring four cuts spanning the house and techno spectrum. As an XLR8R exclusive, The Cleer Consortium has offered up "Cleerly Jazz," a thumping and groovy cut with devilishly echoing bass stabs, razor-sharp percussion, and a galloping stride that is sure to blow any dancefloor to pieces. "Cleerly Jazz" is available for free download below, and make sure to keep an ear out from more from The Cleer Consortium and Eye Shadow.

Cleerly Jazz

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Bubblin' Up: The Drifter http://www.xlr8r.com/features/2015/07/bubblin-up-the-drifter/ http://www.xlr8r.com/features/2015/07/bubblin-up-the-drifter/#comments Wed, 22 Jul 2015 19:36:43 +0000 http://www.xlr8r.com/?p=96728 It's known for a plethora of quality exports, but—despite the Irish heritage of artists like Niall "Mano Le Tough" Mannion—Ireland isn't considered a particularly renowned hot spot for house and techno music. As the profile of Mark Flynn (a.k.a. the Drifter) continues to progress, however, there is a growing sense that Mannion will soon have a fellow compatriot and close childhood friend with whom he can scale the heights of electronic music. Driven forward by his beautiful productions and deeply melodic DJ output, and with a new EP in the works, XLR8R sat down with Flynn to hear his story and his plans for the future, and to learn why it has taken until now for him to begin finding the acclaim that his talents warrant.

“These are great times,” says Flynn through a thick Irish accent, perched on a stool in the corner of a slightly dingy Barcelona street cafe. Affable with an infectious sense of humor, his character is laced with a carefree modesty, an absence of ego captured by his outfit: a striped t-shirt accompanied only by a pair of old sports shorts and some archaic flip-flops. He laughs and jokes as he reflects on the steps that have taken him to the verge of his musical ambitions, pausing only to take a sip of his water and apologize for going off on a tangent to disclose yet another quirky tale. “There have definitely been moments where I’ve wanted it to happen faster,” he adds, pausing for thought. “But if you are to succeed as an artist, you have to have trust in yourself—and I have always had this belief.”

Backlash Photo: John Mahon, www.thelocals.ie

Backlash
Photo: John Mahon, www.thelocals.ie

Growing up in Greystones, a small fishing town on the east coast of Ireland, Flynn’s musical origins can be traced back to his early years, a time when he was encouraged by his mother to explore various musical avenues. The turning point to electronic music came when Flynn attended University College Dublin and discovered Backlash, a Thursday club night that steadily became more techno- and house-orientated with the rise of DFA and Hot Chip. It was here that he first began DJing under the moniker Marko Le Tough, a reference to Hang Tough, the indie-rock band he and Mannion were involved with at the time. “That was where it all changed for me," Flynn explains.“Even though I was exposed to electronic music growing up hearing the likes of the Prodigy and the Chemical Brothers, Backlash was my gateway because that’s where I learned to DJ,” he adds. “And it very quickly became an addiction.”

“The thing about dance music is the togetherness in the crowd, where everyone is going off, is just such a rare vibe,” Flynn says. “As a DJ, and as someone who wants to do something artistic with this genre of music, it’s incredible to whip up this energy and be part of this togetherness. This common connection is something that just doesn’t exist in other genres. Whether it is sticking on some big record that everybody knows or putting a completely unknown track, that feeling of connecting with the crowd is like an addiction—and I cannot get enough of it.”

As with many artists, the catalyst in Flynn’s growth proved to be his relocation to Berlin, a move he made in 2009 following two years working in Happy Pear, the family-run restaurant. “I became distracted,” says Flynn in reference to his decision to return home instead of pursuing music immediately after university. “Even at that point, I knew that I wanted to be a DJ, but working with my brothers [at the restaurant] was something I had always wanted to do,” he explains. “Then, at some point, I realized that I needed to move to Berlin, because music was all I wanted to do,” he adds. “There was such a culture for it over there and these opportunities just didn’t exist in Ireland.”

The Drifter and Mano Le Tough Photo: Sebastien Vergne

The Drifter and Mano Le Tough
Photo: Sebastien Vergne

Working part-time in a clothing store while spinning discs across the city, Flynn steadily began learning the art of being a good DJ. It was then that he started Passion Beat, a monthly party he co-ran for three years, and quickly adopted a new moniker. “This period was the launching pad of my career,” reflects Flynn. “I learned so much about myself, how to read the crowd how to choose which records to play because I was given time [to DJ],” he continues. “I also realized that I needed a new name,” he adds, hesitant to reveal to full motivations behind the name The Drifter. “There are a few reasons why I decided to use this name, but the main one is that my mother never really knew where music was going to take me, and then one day she just said to me, 'You know what you are—you’re just a drifter. You’re drifting through life.' I’m still not quite sure why, but I just used it!”

The lessons learned during this period have taken him to where he is today. Besides refining his skills in the DJ booth, Flynn also learned the basics of production following a chance meeting with Baikal. “Production was a big step forward for me,” recalls Flynn. “These days you’ve almost have to release a record in order to grow your profile as a DJ. I didn’t start [producing] until much later and I think this held me back,” he continues. Inspired and addicted, Flynn worked tirelessly on his productions, bouncing ideas off of then-flatmate Mannion before releasing 2012’s gorgeous Lovers, his three-track debut solo EP released on Permanent Vacation in 2012.

Mannion’s influence on Flynn’s development can't be underestimated. Connected by their Irish heritage and a profound love for all things musical, Flynn and Mannion have grown up side by side, sharing the same educational background before living together in Berlin for over three years. Today, alongside Baikal, the pair runs the small Berlin-based Maeve imprint and regularly DJ all over the world together. “We’re like brothers,” Flynn says. “Music has always been the foundation of the friendship because we’ve always wanted to be in bands. We’ve always pushed each other in a very informal way. Even today, I will be the first one to hear his new tunes and he’ll be the first one to hear mine.”

For many, witnessing a close childhood friend achieve such early success might deter them from pursuing similar avenues—but Mannion’s rise, a gradual journey that has seen him develop into one of today's leading DJ-producers, has been of great benefit to Flynn’s endeavors. “Mano began producing and hustling for gigs a lot earlier than me, and he always been a little bit ahead,” says Flynn. “But we have always done musical things together, and his success has certainly shone a bit of light on me. I think it also made me realize that music is an achievable goal. His success definitely gave me belief that I could go ahead and have a career in music too.”

This sense of self-belief has allowed Flynn the time to find his own acclaim; instead of becoming frustrated and impatient, Flynn remained positive and undeterred, trusting that his time would come too. “I’ve always had this confidence that it will work out because I have always had a very musical ear,” he explains. “All successful musicians have this focus and tenaciousness, and it is definitely the same with me. Things are going well and so I am going to enjoy it,” he explains, laughing. “I do put a lot of hours in but it doesn't feel like work because making music and playing gigs with your best friends around the world is actually really exciting.”

"It was only last year, at my cousin’s wedding, that my parents first recognized that music was my career."

This is a wonderful time for Flynn. The quality of his output over recent years has increased his recognition as an artist, earning him a platform on which he can now finally begin to really express himself artistically. "But it was only last year, at my cousin’s wedding, that my parents first recognized that music was my career," Flynn recalls. "Before that they just said I was doing music in Berlin. But I don’t see this as success yet. For me, this is only the start. People are really listening now so I have a great opportunity to do lots of cool things.”

Casting an eye forward, that is not to say there is some grand vision in Flynn’s head. For now, it is clear that he's quite happy in the moment, basking in the knowledge that he’s moving forward and that things will now develop naturally, given time. “I believe in myself, but eventually want to get to a position where I can begin to experiment,” he explains. “As an artist, I think you reach a level where people begin to trust you and this gives you the freedom to push boundaries and experiment with different sounds. Right now, I am not at that level—right now, I am still rising. But that’s where I would like to get to.”

Photo: Jan Kapitaen, www.buerobumbum.com

Photo: Jan Kapitaen, www.buerobumbum.com

Pausing for thought, Flynn takes a sip of his water before continuing. “In DJing terms, as the main headliner you are given a certain freedom because you have already earned the trust of the crowd," he says. "I want to have that trust so I can play with confidence that they will stay with me—and this will allow me to go a bit deeper and more experimental.” It is here that he also reveals a long-term vision of combining his “two worlds” of indie and electronic music, a creative liberty that will develop alongside his reputation. For now, however, focus rests solely on putting the final touches to his newest EP, a vocal-heavy production more akin to Lovers than 2014's Again. There are also loose plans to release another EP on Maeve, and a number of remixes are scheduled.

Following the interview, Flynn is next seen at the Maeve label showcase, hosted in an abandoned monastery nestled deep within the El Poble area of Barcelona. He's behind the decks, earphones on, utterly enthralled. Even then, with the Catalan sun setting behind the stage and a mass of expectant fans, there is a sense of great humility as he smiles politely before raising a right hand to acknowledge the crowd’s ovation.

Set over, he grabs a beer and greets his friends backstage. He begins to explain how he and Mannion just played at Movement in Detroit, nine years after he attended as a visitor, and reflects how crazy it seems that Mannion is headlining at Amnesia in Ibiza. “As kids, we’d hear about legends like Sven Väth and Villalobos playing these places—but now Mano is there with them. It just shows how far we’ve come,” he says.

Give it some time, and Flynn might well soon be there, too.

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Watch a New Video from Pixelord http://www.xlr8r.com/news/2015/07/watch-a-new-video-from-pixelord/ http://www.xlr8r.com/news/2015/07/watch-a-new-video-from-pixelord/#comments Wed, 22 Jul 2015 18:00:03 +0000 http://www.xlr8r.com/?p=96806 Alexey Devyanin, better known as the Siberian born producer Pixelord, is known for his bleep-bloop 8-bit sound and fragmented graphics. Now the producer has released a video called "DATA," inspired by browser generative plugins and Glitche app on iOS.

The video was released yesterday on Pixelord's Vimeo channel, and the music for the video is pulled from Pixelord's latest soundtrack "П"—a score specially created for an A/V installation by Marcos Zotes at The Polytechnic Museum Festival, in Moscow. The video is a continuous flow of rainbow data from one side of the screen to the next , like a VHS player having a copy of Altered States as its final meal. The video feel effortlessly connected to Polytech installation, and represents the online part of this digital collaboration.

You can find more website and design work by visiting the Mr. Doob website, and you can also check out both artists by watching the video below. You can click here to find Pixelord's latest exclusive download on XLR8R.

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