XLR8R http://www.xlr8r.com Accelerating music & culture Wed, 05 Aug 2015 03:24:35 +0000 en-US hourly 1 Agoria, Hunter/Game, and Blond:ish Head up Minimal Effort Halloween 2015 http://www.xlr8r.com/news/2015/08/agoria-huntergame-and-blondish-head-up-minimal-effort-halloween-2015/ http://www.xlr8r.com/news/2015/08/agoria-huntergame-and-blondish-head-up-minimal-effort-halloween-2015/#comments Wed, 05 Aug 2015 01:57:12 +0000 http://www.xlr8r.com/?p=98282 Minimal Effort LA returns this Halloween to present a one of a kind dance music experience in one of Los Angeles’ most elegant and historic buildings, the Belasco Theater in DTLA.

Hosting a plethora of well respected artists on three different stages—hosted by Jukely, Mixmag, Deep House Amsterdam, and Rolling Tuff—this years show includes big name techno artists including Agoria, Miss Kitten, Hunter/Game, Blond:ish, Finnebassen, Adana Twins, and more. The event will run from 8pm to 5am on October 31.

To get more information about tickets, venue and the lineup, head over to their website. Check out the recap video of last years party below.

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Bendejo "Unravel" http://www.xlr8r.com/mp3/2015/08/bendejo-unravel/ http://www.xlr8r.com/mp3/2015/08/bendejo-unravel/#comments Wed, 05 Aug 2015 01:14:51 +0000 http://www.xlr8r.com/?p=98253 Drawing the listener in with gorgeous piano work and faint, haunting strings, Bendejo's "Unravel" is a smooth, slightly unconventional, slice of techno which gracefully unfolds across its 13-and-a-half minute run. The Austrian producer layers in raw, drum-machine rhythms and an assortment of deep synth work, perfectly showing off his sonic mastery. "Unravel" is the title track of Bendejo's latest EP on Adjunct Audio. The five-track EP is comprised of two more originals and four remixes—two by Adjunct label head, Reverse Commuter, who is joined on rework duties by Freaky Chakra and Stefny. The EP is out now and can be purchased here, with "Unravel" available as a free download below.


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Hear the New EP from Simon Baker http://www.xlr8r.com/news/2015/08/hear-the-new-ep-from-simon-baker/ http://www.xlr8r.com/news/2015/08/hear-the-new-ep-from-simon-baker/#comments Tue, 04 Aug 2015 22:37:30 +0000 http://www.xlr8r.com/?p=98129 BKR Projekt is the new project and label of Simon Baker, the acclaimed British producer who first broke through with the writhing monster that was "Plastik". Ensuing efforts like the Lip Trick EP, remixes of Crazy P and Simian Mobile Disco plus collaborations with Jamie Jones have all helped to cement his reputation as producer with lots to say and the skills to say it.

Now based in London, and following the acquisition of some new studio equipment, Baker has been inspired to pursue a more stripped-back techno sound. To do so, he has started the BKR Projekt imprint and adopted BKR Projekt as a moniker. His first EP,  a beautiful three-tracker that captures this new sound perfectly, can be streamed in full below.

The Ebony EP is out on digital and vinyl now via Baker's own BKR Projekt imprint.

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Premiere: Stream a Track From Slime's Company LP http://www.xlr8r.com/news/2015/08/premiere-stream-a-track-from-slimes-company-lp/ http://www.xlr8r.com/news/2015/08/premiere-stream-a-track-from-slimes-company-lp/#comments Tue, 04 Aug 2015 17:34:47 +0000 http://www.xlr8r.com/?p=98234 Paris-based artist Will Archer (a.k.a. Slime) will drop his debut album, Company, on Weird World on August 14.

Reportedly culled from around 400 cuts, the 10-track album is a beautifully mature and, at times, otherworldly sounding debut LP. Archer has crafted a timeless and intimate sound with Company, one propped up by head-nodding beats, organic textures, and flowing, live instrumentation. Of the 10 tracks, three are with featured vocalists including the one in question here, "At Sea Again Ft. Selah Sue," which is a tightly wound slice of electronics driven by Archer's sound-design and the crooning vocals from the Belgian singer/songwriter.

Ahead of the August 14 release, you can stream "At Sea Again Ft. Selah Sue" in full below.

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Watch Pioneer DJ's Teaser Video For New "Battle" Mixer and Rekordbox Update http://www.xlr8r.com/news/2015/08/watch-pioneer-djs-teaser-video-for-new-battle-mixer-and-rekordbox-update/ http://www.xlr8r.com/news/2015/08/watch-pioneer-djs-teaser-video-for-new-battle-mixer-and-rekordbox-update/#comments Tue, 04 Aug 2015 16:45:29 +0000 http://www.xlr8r.com/?p=98223 Turntable and battle DJs have been waiting a long time for Pioneer to release a new mixer that has the functionality they desire, and now it looks like the wait is over with a new mixer just around the corner. Pioneer DJ has just announced the latest updates to Rekordbox for Windows and iOS, along with a short video that introduces a mysterious look at Pioneer's new "battle" mixer. The video doesn't show too much, but if you scroll down further into the comments on the video, viewers are already talking about leaked pictures and lobbing their opinions into the atmosphere about what kind of functions this mixer will have.

You can check out the new mixer by watching the video below, and you can click on this link to take you to the Rekordbox update on the Pioneer website.

Rekordbox 3.3.0 updates include:

  • Added a function to export My Tag and Matching information to rekordbox (iOS) and perform the “Update Collection” option to reflect the information from rekordbox (iOS)
    (This function is available with v.2.0.0 of rekordbox (iOS). It's not available with rekordbox (Android))
  • Fixed an issue of not always loading a track, even if a track is selected and the Return key is pressed
  • Fixed an issue where rekordbox does not restore from being minimised to Dock on Mac
  • Fixed an issue where it takes time to show track information when many genres are stored in rekordbox
  • Fixed an issue where the speed of waveforms in the 2 Player mode are not always synced

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Premiere: Hear a Track From the New Detboi EP http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-the-new-detboi-ep/ http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-the-new-detboi-ep/#comments Tue, 04 Aug 2015 15:43:22 +0000 http://www.xlr8r.com/?p=98171 On August 8, Irish producer Desmond McGouran (a.k.a. Detboi) will release his latest EP, Scatter, via Keysound Recordings.

McGouran has contributed a number of dubplates to Keysound’s Rinse FM show in recent years, but Scatter will be his first official outing for the label—set up by previous XLR8R podcast contributors Dusk + Blackdown in 2005. The four-track EP twists an early 90s hardcore and jungle palette into more house-focused tempo, propped up by scraping percussion, ravey synths, and echoing vocal chops.

Ahead of the release this week, you can stream EP cut "Pin Point" in full below.

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XLR8R Podcast 398: Applescal http://www.xlr8r.com/podcasts/2015/08/xlr8r-podcast-398-applescal/ http://www.xlr8r.com/podcasts/2015/08/xlr8r-podcast-398-applescal/#comments Tue, 04 Aug 2015 13:28:02 +0000 http://www.xlr8r.com/?p=98187 You're in for a treat with our latest podcast, the handiwork of the Dutch DJ-producer Pascal "Applescal" Terstappen. And you'll know it right from the get-go: The mix kicks off with the emotive David August remix of the Acid's "RA" (a truly gorgeous cut) and keeps the vibey action coming right through the closer, Emeralds' equally sumptuous "Candy Shoppe." The mix's flair should come as no surprise. After all, this is from the head honcho of the highly regarded Atomnation label (which came second in last year's Labels You Love readers' poll), and the man's productions—starting with his 2009 debut on Manual Music, the atmospheric, kosmische-tinged Untitled Addict EP, right up through the present day—have rarely hit a wrong note. But we have a feeling that young Applescal is just getting started. Following up on 2013's well-reviewed album Dreaming In Key, he's come up with the new For long-player for Atomnation—and it's another milestone in his career, a self-assured work that's as dreamy and emotive as anything he's done. "I created most of the music on my headphones, just on the couch late at night," he's been quoted as saying—and it shows, as the album is imbued with a laid-back, moonlit feel that still packs plenty of moody heft. We highly recommend that you check it out—but first, cuddle up with this podcast for an hour of pure listening pleasure.

01 The Acid "RA" (David August Remix) (Infectious Music)
02 Leon Vynehall "Sister" (Aus Music)
03 Frankey & Sandrino featuring Jinadu "Starchild" (Musk remix) (Drumpoet Community)
04 DJ Koze “XTC" (Pampa Records)
05 Eddie Fowlkes "Something Special E" (Detroit Wax U.S.)
06 Marvin & Guy "Egoísta" (Hivern Disc)
07 Mind Against "Space Thru Me" (Hideout)
08 Bicep "Just" (Aus Music)
09 Ellen Allien "Lou" (BPitch Control)
10 Weval "Thinking Of" (Kompakt)
11 Emeralds "Candy Shoppe" (Editions Mego)

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Q&A: Idjut Boys' Dan Tyler and Conrad McDonnell http://www.xlr8r.com/features/2015/08/qa-idjut-boys-dan-tyler-and-conrad-mcdonnell/ http://www.xlr8r.com/features/2015/08/qa-idjut-boys-dan-tyler-and-conrad-mcdonnell/#comments Tue, 04 Aug 2015 13:00:09 +0000 http://www.xlr8r.com/?p=98077 For more than twenty years, the U.K.'s Dan Tyler and Conrad McDonnell—together known as Idjut Boys—have been bringing an elegant live-mix sound, dubbed-out vibrations, and a fluid party intelligence to their original compositions, edits, remixes and DJ sets. Always conversational in its approach, their output has always been sophisticated, lacking in pretense and full of playful urgency—and the duo, which met in Cambridge and built up the U-Star and Noid labels, just keeps on trucking. In 2012, they finally released their first full LP, the composition-driven Cellar Door,  a record full of songs designed for home or earbud listening. The record—which featured collaborators like Andy Hopkins, Bugge Wesseltoft, and Sally Rogers and  Steve Jones of A Man Called Adam—is built around lovely piano and guitar work, and also gives the duo’s live-mix approach a different realm to work in. The LP has a depth that most offerings termed balearic lack; there's a roots quality to the production, a subtle and dynamic palette, and an easy avoidance of standard loops. The LP holds up under repeated listening, offering new perspectives over time. On August 28, new versions of that LP’s songs, skewed more for the dancefloor, will be coming out via an album named Versions; there's a great 45 already out in Japan; and some new U-Star twelves are on the way. There is also rumor of a US tour in the fall.

XLR8R got together with Tyler and McDonnell for two long, late-evening chats—what follows are some of the conversation's more sentient and cogent moments.

What’s been going on in the realm of the Idjuts lately?
McDonnell: Well, just life really—we’re just keeping after it. Dan is now in Oslo and I’m here in London, so we have adjusted to not having a shared daily studio. We are working out a process—we exchange files and ideas online, then we work together in concentrated periods, we are making some progress.

Tyler: We are also plotting to come to the States—visa action permitting. Along with Japan, America has always been such a great inspiration. We have this dark version of Cellar Door coming out on Smalltown, and some new remixes for Bryan Ferry—and we have these U-Star releases.

McDonnell: The U-Star material was supposed to be for our 20th anniversary…but we are a little late to the party. The idea was to get some people we liked to do some versions of original U-Star records, then some new business came along with that.

Tyler: We are sorting the commute-work process and coming out of hibernation—at least we’re aspiring to.

Let’s talk about your studio process. How do you build the songs? Do you find over time and circumstance it changes significantly?
McDonnell: It varies based on the project; we tend to do versions and passes. We use the mixing board and do live mixes—then we listen and perhaps edit from those versions, reassemble parts and relisten, and if needed add new elements, or start over from scratch. Something takes form from that approach.

Tyler: Plus, in moving things back and forth now, some internal editing takes place. When we were in the studio together daily there was a certain ritual: lots of coffee, musings on the universe and then starting. Now we have things going when we get together and there is some real enthusiasm. There’s a lot to be said about being in the moment and riding that feeling and electricity. With us working together at the mixing board, you get something one of us wouldn’t produce, nor would two people sitting staring at a screen.

idjut boys 3

McDonnell: Sometimes you know right off you have something, and when you do its good not to overwork it. You want to keep the freshness.

Tyler: Part of it is getting to that point where you are hearing what’s actually coming out, and not the idea or concept of it.

McDonnell: Hopefully we pick the best version of what we put together. (laughs)

How’s the DJing been going? I think you just played in London, right?
Tyler: Yeah. Last Saturday we did a gig in London and the crowd was very young, but a really great crowd—young and up for a good time. The only request I got was for some dub sounds, and I thought, yeah I might get to that—the guy who asked had a shaved head and a ginger beard, and he told me he was a Rastafari. I showed him the Countryman soundtrack, which I had with me. (laughs) It was fun being in this non-club space doing a one-off with a real vibe.

McDonnell: We got into this being fans of music and the excitement of a good party, and the fact that we have been able to travel the world and have such a good time performing has been truly amazing. What I find as I keep going is that the range of music that interests me keeps expanding, and getting it all into a set is riotous fun. We played recently in Oslo and the crowd was up for it all.

Tyler: More than some forensic appreciation of our selections, having that enthusiasm and vibrancy from the crowd, making our stuff feel relevant to the room, bringing it off…that’s a great thing.

The Idjuts have kept it funky and have always gone their own way. It shows in their broad discography, where tune after tune (either done by them, or with some of their great collaborators) resonates and still sound amazingly fresh. Below, Dennis Kane pick five favorites from the Idjut trove.

1. Idjut Boys & LAJ  "Twakting" (U Star)
Done in collaboration with the great Ray Mang, "Twakting" gets you in a Zulu Afro groove, has a nice quiet spot—and then launches off with a great bassline and nicely picked West African guitar. Afro-Space disco action.. Afro-Space disco action.


2. Idjut Boys "Girth Soup" (Noid)
On Noid's first release, there is this great jam…swamp gypsy-funk parts get launched into the atmosphere, with some extra sleaze on the side. Nasty and classy. (Bonus: Nice edit of “Keep on Trying” by Harvey on the other side.)


3. Lighthouse Family "Question of Faith" (Idjut Boys remix) (Wildcard)
Nice, easy Jamaican dub touches and an appreciation for quiet moments gives the original track even more weight. Takes its time and gets someplace rich—folk dub for early Ibiza mornings.


Atmosfear "Deep Bass Nine" (Idjut Boys mix) (Disorient)
Dancing in deep outer space, British future funk gets flanged to an easy skank with wine-soaked élan. I’ll see you on Mars, miss—we can two-step on the red planet till the sun slowly rises. An all-time favorite remix, I’ve worn two copies of this record out. Timeless.


5. Idjut Boys "Love Hunter" (Smalltown Supersound)
From the Cellar Door album. Great playing on this—stellar guitar work with nice psyche echo-chamber moments, it's deep in some '70s water, with some rich acid and disco sprinkles on top. A great jam to hear when the club just opens——so much space—or when you are blasting down the road in your Challenger.

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Items & Things Set to Release Madato's Debut Album http://www.xlr8r.com/news/2015/08/items-things-set-to-release-madatos-debut-album/ http://www.xlr8r.com/news/2015/08/items-things-set-to-release-madatos-debut-album/#comments Tue, 04 Aug 2015 11:46:24 +0000 http://www.xlr8r.com/?p=98210 Crafted will mark Madato's third effort for Berlin based imprint Items & Things — the label run by MagdaMarc Houle and Troy Pierce. The full-length features a blend of techno, electronica, rock and disco inspired sounds with post-punk influences. Having drawn the artwork himself, the album's cover exemplifies the Italian producer's diverse talents.

Items & Things is due to release Crafted on September 11, 2015.

1. Last Virgin
2. Magic
3. 17 Miles
4. Make A Chick
5. Ultra
6. Oh Lover
7. My Fellini
8. Leg In Plaster
9. G-Boys
10. Reflection
11. Positiveland

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Watch Short Documentary on Hotflush Recordings http://www.xlr8r.com/news/2015/08/watch-short-documentary-on-hotflush-recordings/ http://www.xlr8r.com/news/2015/08/watch-short-documentary-on-hotflush-recordings/#comments Tue, 04 Aug 2015 11:02:14 +0000 http://www.xlr8r.com/?p=98212 Bonafide Magazine have made a short documentary detailing the growth and evolution of Scuba's Hotflush Recordings imprint.

The video, which features interviews with Dense & Pika, George FitzGerald, Sepalcure, Locked Groove and Scuba, can be viewed in full below.

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Native Instruments Launches Stems http://www.xlr8r.com/news/2015/08/native-instruments-launches-stems/ http://www.xlr8r.com/news/2015/08/native-instruments-launches-stems/#comments Mon, 03 Aug 2015 16:44:22 +0000 http://www.xlr8r.com/?p=98164 Today, Native Instruments officially launched its new multi-track audio format, Stems.

Stems is an open file format which gives DJs the ability to control a track’s four different musical elements—drums, bass, keys, and vocals, for example. Stems is also now compatible with Traktor's software, and hardware, with the Traktor Pro 2.9 update.

Beatport, Bleep, Juno, Traxsource, whatpeopleplay, and Wasabeat are now selling Stems formatted tracks, with a free Stem Creator Tool following later in the year. Check out a video of Stems in action below.

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Listen to Bob Moses' New Single 'Too Much Is Never Enough' http://www.xlr8r.com/news/2015/08/listen-to-bob-moses-new-single-too-much-is-never-enough/ http://www.xlr8r.com/news/2015/08/listen-to-bob-moses-new-single-too-much-is-never-enough/#comments Mon, 03 Aug 2015 16:26:29 +0000 http://www.xlr8r.com/?p=98140 "Too Much Is Never Enough" is the latest single to see the light of day from Canadian duo Bob Moses' forthcoming debut album Days Gone By.

Following in the footsteps of their earlier critically acclaimed single "Talk," Bob Moses give us a second glimpse of what to expect from their upcoming album which is available for pre-order via iTunes and is set to be released on the Domino imprint on September 18, 2015.

Find their upcoming tour dates, or preview the new single "Too Much Is Never Enough," in full below.

01/08 - MoMA PS1 - New York, US
02/08 - Osheaga Festival - Montreal, Canada
13/08 - Sunkissed - Oslo, Norway
15/08 - Chill Out Festival - Turkey
19/08 - Symbiosis Festival - Oakdale, CA, USA
20/08 - Lexington - London, UK
22/08 - Hinterhof - Basel, Switzerland
26/08 - Musikaliska - Stockholm, Sweden
27/08 - Heart - Ibiza, Spain
23-27 August - Decibel Festival - Seattle, WA

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Preview Jonas Kopp's 'HHH' EP on Tresor http://www.xlr8r.com/news/2015/08/preview-jonas-kopps-hhh-ep-on-tresor/ http://www.xlr8r.com/news/2015/08/preview-jonas-kopps-hhh-ep-on-tresor/#comments Mon, 03 Aug 2015 13:00:42 +0000 http://www.xlr8r.com/?p=98117 Jonas Kopp follows up his debut album, Beyond the Hypnosisreleased on Tresor back in November 2014—with the powerful and club-oriented EP HHH.

The EP opens with throbbing bass, deranged chords, and hard hitting percussion, forming a stimulating composition full of energy to kick things off. The next two tracks unfold in the same way as the first, yet with a smoother delivery and in a more melodic manner. "Hank" unwraps with a stomping bass line and sinister atmospheres, while "Sinstro" yields a whole new ambiance with fraught chords pattering on the surface. To round out the release, the digital bonus track "Nekh" brings the story full circle with a bold opening arrangement which seems to fit within the center of a dark and discerning warehouse.

You can preview more tracks from HHH over on the Juno Records website, and you can pre-order the vinyl on Red Eye Records.

A1: Khaa
A2: Nhan
B1: Hank
B2: Sinstro
Digital Bonus / Nekh

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Running Back Preps Tensnake Remix 12" with Lone, Prins Thomas, and More http://www.xlr8r.com/news/2015/08/running-back-preps-tensnake-remix-12-with-lone-prins-thomas-and-more/ http://www.xlr8r.com/news/2015/08/running-back-preps-tensnake-remix-12-with-lone-prins-thomas-and-more/#comments Mon, 03 Aug 2015 12:52:06 +0000 http://www.xlr8r.com/?p=98134 Running Back, the label headed by favored selector Gerd Janson, has detailed a pair of new 12”s due for release soon. First up, tracks from Tensnake’s 2009 In the End (I Want You to Cry) EP, one of the label’s most successful records to date, has been remixed by the likes of Norwegian nu-disco figurehead Prins Thomas, Tiger & Woods, Lone, Shan, DJ Oyster, and Tricky Disco. A new outing from Good Timin’ boss Jex is also reportedly in the works. Both records will be available exclusively via Phonica (at least for now), where clips are currently streaming; complete tracklists are on view below. (via Resident Advisor)

Tensnake – In The End (Remixes)
01. Holding Back (My Love) (DJ Oyster Mix)
02. Holding Back (My Love) (Pete Herbert & Dicky Trisco Version)
03. Holding Back (My Love) (Prins Thomas Diskomiks)
04. Holding Back (My Love) (Shan Funhouse Mix)
05. Holding Back (My Love) (Shan Warehouse Mix)
06. Holding Back (My Love) (Tiger & Woods Remix)
07. Holding Back (My Love) (Pete Herbert & Dicky Trisco Extended Version)
08. In The End (I Want You To Cry) (Lone Remix)

Jex – Good Timin’
01. Studio E
02. Laxmi Tool
03. Harpa
04. La Casa

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Watch Dekmantel 2015 Live on Boiler Room http://www.xlr8r.com/news/2015/07/watch-dekmantel-2015-live-on-boiler-room/ http://www.xlr8r.com/news/2015/07/watch-dekmantel-2015-live-on-boiler-room/#comments Sat, 01 Aug 2015 00:24:53 +0000 http://www.xlr8r.com/?p=98098 If you are anything like us over here at the XLR8R office in Los Angeles, you are sitting in front of the computer thinking to yourself about how much you wish you were with all of your mates in Amsterdam for Dekmantel 2015.

The next best thing to actually being there is to watch it on the live broadcast over on Boiler Room. You can stream all three days live on their Youtube channel, and you can bet that XLR8R will have more updates about the festival and the stand out performances as they come along. For now, tune in and drop out.



  • 15:30 AWANTO 3
  • 16:30 HUNEE
  • 17:30 TRIPEO
  • 18:30 CALL SUPER
  • 19:30 OBJEKT



  • 16:30 VAKULA
  • 18:30 PALMS TRAX
  • 19:30 MR TIES
  • 20:30 MANO LE TOUGH



  • 16:45 YOUNG MARCO
  • 17:45 MIDLAND
  • 18:45 PANGAEA
  • 19:45 MATRIXXMAN
  • 20:45 DJ NOBU
  • 21:45 TAMA SUMO

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Premiere: Hear Rough Year's "Arch" in Full http://www.xlr8r.com/news/2015/07/premiere-hear-rough-years-arch-in-full/ http://www.xlr8r.com/news/2015/07/premiere-hear-rough-years-arch-in-full/#comments Fri, 31 Jul 2015 23:46:17 +0000 http://www.xlr8r.com/?p=98051 Rough Year is a young trans artist from Philadelphia who crafts haunting compositions characterised by themes of dispossession, alienation and forced assimilation.

Following on from the politically charged Mongreal EP, Rough Year's "Arch," and the rest of their body of work for that matter, is "focused toward the resurgence of civil rights protests around the world." With "Arch," Rough Year paints an evocative picture, laying gritty field recordings and spoken word snippets underneath menacing drones, knife-edged percussion, and bone-shaking kicks, flowing like a stream of consciousness across its 11-minute run. It's an affecting piece of story telling from a talented newcomer.

You can stream "Arch" in full below, with Rough Year's previous work available here.

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B2B: Alix Perez & Eprom http://www.xlr8r.com/features/2015/07/b2b-alix-perez-eprom/ http://www.xlr8r.com/features/2015/07/b2b-alix-perez-eprom/#comments Fri, 31 Jul 2015 19:37:09 +0000 http://www.xlr8r.com/?p=97884 A lot has happened since 2009. Dubstep, for instance, jumped into the mainstream pool with both feet—only to be ushered out rather quickly by the tidal wave of 4/4 EDM. Concurrently, Low End Theory and Alpha Pup Records went from one of L.A.’s best kept secrets to full-blown, experimental, intelligent and sometimes jazzy prominence, courtesy of Flying Lotus, Thundercat, Kamasi Washington and the entire stable of artists that label boss and Low End founder Daddy Kev has nurtured for well over a decade.

Alix Perez Eprom Shades EPEven so, it’s hard these days to come by music that's not only a legitimate full-frontal assault in the same vein as tunes from that golden era of gluttonous bass and synths, but that embraces that ethos while giving it a more polished feel. However,when West Coast mid-tempo bass meets half-step U.K. jungle/drum & bass, somewhere around 85 bpm—with a generous helping of hip-hop tossed into the mix—that’s exactly what you get. Specifically, that's what you get with Shades, the new EP from Alexander "Eprom" Dennis and Alix Perez, slated for release on Alpha Pup on July 31st.

The release's music is heavy, without being serious; playful, without meandering. It's tightly crafted bass music for 2015’s sentimentality, put together by two guys who are clearly having fun making music with each other—and it’s a surprisingly fertile middle ground between each artist’s roots. We caught up with the pair for a quick chat about the EP, their recording process and what they hope to bring to their performance together at the Low End Theory Festival, coming up on August 8.

Shade's tracks feel like a throwback to the Glitch Mob when they had Kraddy, or some of the Megasoid and Lazer Sword stuff from around 2009. Is that something you guys were going for?
: I come from that world. Alix comes from a different world but for me, I went to college with the Glitch Mob dude Justin, and we did some projects together—so there’s definitely some crossover and influence from those guys. Megasoid were a big influence on me early on, people doing that sort of hard beat music at hip hop tempo with super heavy basslines and weird drum sound design. To me, those guys were definitely an early influence. We share some aspects of the sound, but I think Alix definitely arrived at that sound through different avenues.

Perez: I come primarily from more jungle and drum & bass, but I’ve kind been following the whole Low End Theory and L.A. beat scene for quite a few years now. A lot of my original influences in music are from hip-hop, and I got drawn to that scene because it’s the merging of electronic music with more classic hip-hop things; that’s what really caught my ear. You mentioned Lazer Sword, which is someone that I followed quite a lot back then—and obviously, like I said, all the Low End things.

I became aware of Sander’s music quite early on as well. It’s always been something I’ve been drawn to, and there’s been a natural shift in my solo stuff which we call half-time, which is halving the tempo of drum & bass—so around 85 bpm which naturally stands within the kind of tempo that the whole beat scene was working around. Maybe a bit higher, maybe a bit lower. And that’s a natural thing for me and with Sander, I feel we’re both aware of each others’ music and we met actually in person at a festival in New Zealand a couple years ago and we got on and chatted and talked about making music. I feel the whole thing’s kind of natural, it’s not forced, we’re not trying to make it a certain sound, we’re just having fun blending what we both do together.

Both of you came up within fairly strict genres, whether it’s the mid-tempo West Coast camping-party scene or U.K. drum & bass. Is the fact that the Low End scene doesn’t have the same type of strict boundaries or genre expectations part of the appeal of releasing on Alpha Pup for both of you?
Eprom: Definitely. To me, Low End Theory in particular has always been this sort of proving ground for tracks and it’s kind of like…I make a lot of tunes for the DJs at Low End Theory to play, and for myself to play when I go there. And you can make these crazy, experimental DJ-tool banger tracks and people eat them up. It’s cool to have that petri-dish, testbed thing of Low End Theory, so we’re really looking forward to playing at the festival.

"That’s what I like having: creative freedom and being able to do whatever I want."

Perez: For me, same thing. I got to play Low End Theory for the first time last year, and it was one for the books for me. I was mad nervous. It was interesting to see, because Daddy Kev has always represented jungle and that side of things and other interesting things going on, from footwork to the half-time thing and the kind of rave element of things, with Mentasm coming back in. Like you said, there’s no kind of barrier—it’s really open. And that’s what I like having: creative freedom and being able to do whatever I want. Kind of keeping it within a sort of comprehensive sound, I guess,—but having no barriers is definitely a bonus for me.

Tell me about your process and what kind of equipment you’re using to squeeze such massive sound into these tunes, and how these tracks ultimately came together in the studio.
Well I use Ableton Live, and Alix mainly uses Logic, but we’ve started shifting things toward mostly using Ableton Live. But he does a lot of sound design in Logic ,and I do sound design in Ableton or analog synths. I think the first couple tracks, what did we do? I think we just loaded up some drums & bass sounds, and just went from there.

Perez: Yeah, the "Minotaur" track was basically you jamming with the drums on Ableton and me jamming with the Virus live, I think. We recorded a session of maybe 15 minutes of jamming on different bass patches, distorting them, filtering them, not MIDI or anything, just really loose—and sort of chopping things up and putting them together, and developing from there. It was really just like fun.

Eprom: That’s the way I like to work a lot. Just set up a little loop and play it through some analog synths and mess with different settings. Chop them up. We did that in the Red Bull Studio, too. We took a drum loop and ran it through a Lexicon delay unit, where you can modulate the delay times so that’s how we did that crazy, flangey drum breakdown in "Minotaur." I’m too ADD to sit there and just dial in every little sound, so it’s more fun to set something up where we can jam and pick the best bits after that. Just keep it kinda loose and flowing.

There’s a lot more freedom today with all of the different performance tools and with how hardware interacts so seamlessly with software.
We’re both quite big fans of analog as well and I’ve got quite a few synths myself—Moog, Virus, JP8000 and a few more – and I think that’s maybe something that’s a little bit different about our sound. I’m still stuck with the analog-think, even though I do have soft synths and like using them sometimes. Rut just doing something really raw is the basis behind it for me.

"Low End Theory is probably my favorite place to play in the whole world because the crowd is so up."

You two are  performing together at the Low End Theory festival. What does that mean to you, and what do you plan on bringing to your performance there?
Low End Theory is probably my favorite place to play in the whole world because the crowd is so up for it and they’re so into what I’m doing—they know me and it’s just a really great feedback loop. For this festival, we’re basically building the set from scratch; we’re still working on it, but it’s going to be two Ableton laptops and possibly some other gear. We’re really looking forward to it.

Perez: Ableton kind of syncs things so we’re playing against each other with our own music and we’re working on new stuff, too, that we’re going to bring into the set and really push exactly how we represent our collaboration and how to embody the whole sound. We’ll incorporate a few tracks from other people here and there but it’s mainly about pushing and defining what we’re doing. And like said, we’re really looking forward to it. I already said how nervous I was last year before playing Low End for the first time, as nervous as I’ve been in a long time. I’ve played big crowds before but it wasn’t the crowd, it was about Low End Theory itself, a staple night and something that’s really important. I feel quite comfortable that people are going to understand where we’re coming from with this project and that it’s something they’ll be able to relate to. I’m really looking forward to seeing how it goes down.

Catch Alix Perez & Eprom Present Shades at the following:

7/31 Fusion Factory, Denver
8/8 Low End Theory Festival, L.A.
8/12 La Belmont, Montreal
8/13 U Street Music Hall, Washington, DC
8/15 Aisle 5, Atlanta

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Powel Crash Landing On Laputa EP http://www.xlr8r.com/reviews/2015/07/powel-crash-landing-on-laputa-ep/ http://www.xlr8r.com/reviews/2015/07/powel-crash-landing-on-laputa-ep/#comments Fri, 31 Jul 2015 19:20:46 +0000 http://www.xlr8r.com/?p=97996 You've got to admire All Day I Dream's consistency. In its three and a half years of existence,  Matthew Dekay and Lee Burridge's label has perfected the kind of hazy, mid-tempo house that's become de riguer for a certain subset of summertime open-air party—including, of course, the All Day I Dream shindigs themselves. You could make the argument that the label's releases tend to follow established templates rather than break new ground; you could contend that its music tends to be skew towards the pleasant, peaceful end of the dance-music spectrum, rather than provide a gut-punching thrill. And you'd be right, but you'd be missing the point: All Day I Dream's mission is to provide emotive, melodious soundtrack to swaying in the breeze or hugging your pals on the dancefloor, perhaps while alternating waves of melancholy and joy (or just plain old head rushes) sweep over you. Crash Landing On Laputa, the new EP from Paul "Powel" Chriske, accomplishes that mission in thorough, and quite beautiful, fashion.

Starting off with a thick kick, doubled on the four, with nicely subtle hi-hats adding to the laid-back rhythmic feel, the title track—named for the flying island in Gulliver's Travels—is quickly defined by a floating, four-note synth line that's pure bliss. Drenched in reverb, warm pads shimmering in the background with just a low-frequency bassline (along with that kick) to provide propulsion, it's the kind of music Orbital might have made back in the early ’90s—had the Hartnoll brothers been in a permanent dream state while in the studio. "Feels Like Earth" is cast from the same mold—drifting synths abound—and, if anything, has ever fewer sharp edges; the releases' final cut, "The Tale Of Crime Solving Sheeps," is probably the most delicate of the bunch (and that's saying something), its stately melody plunked out by a celestial piano while pizzicato strings provide counterpoint. Does Crash Landing On Laputa break new ground? No. But the terrain it travels over is gorgeous, and for All Day I Dream, that's what counts.

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Random Rab "39 Circles (CloZee Remix)" http://www.xlr8r.com/mp3/2015/07/random-rab-39-circles-clozee-remix/ http://www.xlr8r.com/mp3/2015/07/random-rab-39-circles-clozee-remix/#comments Fri, 31 Jul 2015 18:21:12 +0000 http://www.xlr8r.com/?p=98055 Opening with slightly frayed strings and a fragile melody, CloZee makes her intentions clear early, keeping in with the haunting vibe of Random Rab's original, the French producer twists the laid back cut into more majestic territory. CloZee's glitchy production style melds perfectly with "39 Circles," with her snapping snare rolls and rolling drums complimenting Random Rab's instrumentation. "39 Circles" is pulled from Random Rab's forthcoming LP which is slated for release in September on Abandon Building. Ahead of the release, you can download the CloZee remix for free below.

39 Circles (CloZee Remix)

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Alixander III to Release Heavy Friends 2 EP on Toy Tonics http://www.xlr8r.com/news/2015/07/alixander-iii-to-release-heavy-friends-2-ep-on-toy-tonics/ http://www.xlr8r.com/news/2015/07/alixander-iii-to-release-heavy-friends-2-ep-on-toy-tonics/#comments Fri, 31 Jul 2015 16:50:44 +0000 http://www.xlr8r.com/?p=98027 Following Azari & III's final split and last performance in 2014, former band member and producer Alixander III returns to the Toy Tonics label.

Heavy Friends 2 is a 4-track collaborative endeavor featuring multiple guest vocalists and producers from Alixander III's hometown of Toronto, Canada. Inspired by the motor city of Detroit, the EP delivers a tight package of vintage, old school and soulful techno.

Listen to a preview of the track "Broken Promises" below. Toy Tonics will release Heavy Friends 2 on September 14, 2015.


1. Alixander III & Marsupials - Broken Promises
2 .Alixander III, Saytek & Dave DeValera - Don't Trust Me
3. Alixander III & Tuxxedo - Go On Use Me
4. Alixander III feat. Kim E and Gingy - (She's So) Young
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Listen to Clay Wilson's New EP Skandha http://www.xlr8r.com/news/2015/07/listen-to-clay-wilsons-new-ep-skandha/ http://www.xlr8r.com/news/2015/07/listen-to-clay-wilsons-new-ep-skandha/#comments Fri, 31 Jul 2015 13:00:36 +0000 http://www.xlr8r.com/?p=97992 The Bunker New York has been consistently releasing strong records this year, with recent releases by Mark Verbos, Romans (a.k.a. Tin Man & Gunnar Haslam), and LØT.TE all in constant rotation at the XLR8R office. Next up for the Brooklyn-based label is Clay Wilson's brand new four-track EP, Skandha, coming out on September 1. This is Wilson's second go-around on the label,  previously dropping BK002 back in February of 2014. Clay is an incredible producer who is constantly honing his craft, and it's easy to tell that his hard work has been paying off when you hear Clay performing one of his improvised live hardware sets.

You can pre-order the limited-edition orange vinyl right now on The Bunker's Bandcamp page, and you can catch Clay performing one of his infamous live sets next month at The Bunker LTD, and in October in Denver for GATF.

August 8th - The Bunker New York LTD @ Trans Pecos.
October 8th -11th - Great American Techno Festival in Denver, CO 

A1. Clay Wilson - Skandha
A2. Clay Wilson - Cataleptic
B1. Clay Wilson - Feres
B2. Clay Wilson - Pict

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LooseWomen "Slides" http://www.xlr8r.com/mp3/2015/07/loosewomen-slides/ http://www.xlr8r.com/mp3/2015/07/loosewomen-slides/#comments Fri, 31 Jul 2015 01:03:04 +0000 http://www.xlr8r.com/?p=97957 Following on from its debut release—Kollaps' GTi001—vinyl-only UK label Grade 10 will drop the latest release from LooseWomen on August 10. GTi002 is a three-track EP that explores the sound of the late eighties and early nineties, backed by a remix from fellow Grade 10 artist ClassicCoke. B-side cut "Slides" is a low-slung, Balearic-tinged affair driven along by floating pads and groovy, muted drums; whispered vocal phrases slide in and out across the sun-soaked five-minute run, giving it a vibe that would fit perfectly with a hazy summer afternoon. You can download "Slides" for free below, with the EP available for preorder here.


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Event Review: Sacred Ground Festival http://www.xlr8r.com/reviews/2015/07/event-review-sacred-ground-festival/ http://www.xlr8r.com/reviews/2015/07/event-review-sacred-ground-festival/#comments Thu, 30 Jul 2015 22:23:24 +0000 http://www.xlr8r.com/?p=97915 “The goal is only that we all return home after Sacred Ground full in heart and lungs from the time together,” says the festival mission statement.

It’s a beautiful Saturday morning in Brüssow, a serene country village situated 100 kilometers north of Berlin. The sun is shining and the locals are out, from the young children to the town elderly, all watching in amazement as music lovers arrive from far and beyond to enjoy the first edition of Sacred Ground Festival. The grounds, a luscious field with aged farm buildings around the outside, is scattered carefully with low-lying beds, Persian rugs and home-made benches, all placed to promote a relaxed and care-free atmosphere —a welcome contrast to the hustle and bustle that surrounds the common festival.

With a line-up that included David August, Âme and Howling, it would be easy to go on and on about the music — but to do so would serve as a great injustice to the magic of Sacred Ground. Reflecting back, while the tremendous art installations and performances provided a focal point for all those fortunate few in attendance, it is this sense of harmonious community that must be captured in this review. As RY X alluded to in an interview leading up to the event, Sacred Ground is more akin to a gathering than a festival. Absent are the queues and overpriced refreshments, replaced instead with fresh local catering and a sense of togetherness, captured most perfectly as the artists mingle with the crowd, dancing in unison under the stars and indulging in the moment all together.

The music, as expected, was spectacular. Though initially a questionable ploy, the lack of confirmed set times actually worked in such a small setting, encouraging a sense of unity and collaboration. Notable midafternoon performances by Dream Koala and Kalabrese & Rumpelorchester came and went, but it was when Howling graced the stage that the party really began. As the locals began to drift off to there homes as the skies darkened, the intimacy gave the feeling of a private showcase for which one had won tickets rather than a festival open to the public. Stunning sets from Dauwd and Âme set the tone for David August, a special talent who delivered once again with a spectacular early morning performance before going back to back with Wiedemann and RY X as the sun began to rise over the ancient barn that formed a perfect backdrop to the festival.

Inevitably for a festival in such remote location, the accessibility of Sacred Ground could certainly deter some folk from making the journey. Although the train ride is easy and shuttle buses are provided between the station and the festival site, it's a long way to travel for an event that spans only one day. However, this is only a minor point, and based on this it is hard to brand the first edition of Sacred Ground anything other than a grand success. The challenge, however, comes now. As the demand for the event grows as will the temptation to expand the size, and the scalability of the Sacred Ground “community” formula is dubious, at best.

As for Edition One, however—it is certainly mission accomplished.

Photo: Alexander Jedermann

Photo: Alexander Jedermann

Photo: Alexander Jedermann

Photo: Alexander Jedermann

Photo: Alexander Jedermann

Photo: Alexander Jedermann

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Julio Rölle, www.44flavours.com

Photo: Oskar Melander / www.obmelander.com

Photo: Oskar Melander / www.obmelander.com

Photo: Alexander Jedermann"

Photo: Alexander Jedermann"

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Zone Records Announces Der Zyklus EP http://www.xlr8r.com/news/2015/07/zone-records-announces-der-zyklus-ep/ http://www.xlr8r.com/news/2015/07/zone-records-announces-der-zyklus-ep/#comments Thu, 30 Jul 2015 20:17:00 +0000 http://www.xlr8r.com/?p=97918 Electro pioneer Der Zyklus will drop his latest EP on Zone Records in September.

Der Zyklus is the long standing project from Gerald Donald—Dopplereffekt producer and one half of legendary Electro duo Drexciya. Filled with his renowned drum-machine grooves, chilly synth tones, and squelchy acid lines, the four-track EP will land on Zone Records on September 15 and will be available digitally, and as a limited edition vinyl release in partnership with The Vinyl Factory.

You can check out the tracklisting below.


1. Perspective Grid

2. Plan Oblique

3. Isometric Projection

4. Explosion Diagram

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Premiere: Stream Domenic's "Subculture Electronic Soul Mix" http://www.xlr8r.com/news/2015/07/premiere-stream-domenics-subculture-electronic-soul-mix/ http://www.xlr8r.com/news/2015/07/premiere-stream-domenics-subculture-electronic-soul-mix/#comments Thu, 30 Jul 2015 17:42:57 +0000 http://www.xlr8r.com/?p=97877 This Saturday, August 1, Subculture will be hosting residents Harri & Domenic at Glasgow's Sub Club.

Pushing a forward-thinking blend of leftfield house and techno, Subculture is the worlds longest running underground house club, with Harri & Domenic spinning at the club as residents every Saturday since 1994. As a preview to the weekend's festivities, Domenic has presented us with 198 minutes of soul-infused disco, house, and techno, all mixed together with his deft touch and musicality.

You can find more information for Subculture Presents Harri & Domenic over at the event page, with Domenic's "Subculture Electronic Soul Mix" streaming in full below.

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Weekly Selections: Dekmantel, Krake Festival, Charivari Detroit http://www.xlr8r.com/news/2015/07/weekly-selections-dekmantel-krake-festival-charivari-detroit/ http://www.xlr8r.com/news/2015/07/weekly-selections-dekmantel-krake-festival-charivari-detroit/#comments Thu, 30 Jul 2015 16:07:15 +0000 http://www.xlr8r.com/?p=97693 Last week of July means we are up to our neck into festival season, and to prove it there's no festival shortage anywhere in the U.S. or Europe this weekend, nor any way for me to keep this post short. Check out some of our favorite picks below.

Amsterdam's Dekmantel Festival kicks off tonight at Muziekgebouw aan ‘t IJ with Autechre (live) and Manuel Gottsching performing a live version of 'E2-E4', followed by expanded day and night performances throughout the weekend with two new venues added from last year.
Krake Festival returns to Berlin Monday for six packed days of  leftfield techno and experimental sounds featuring cut­ting edge acts like Untold, Cassegrain & Tin Man, Eomac, and Bin­tus.
Over in Brooklyn, Full Moon Fest takes place all Saturday at the Brooklyn Mirage with Wolf+Lamb and the whole Crew Love family, plus international acts like Tensnake, Yelle, Rufus du Sol and Kite String Tangle.
Charivari Detroit Festival is a two day free festival taking place during the day Saturday and Sunday in Belle Isle State Park featuring a big lineup of the best in Detroit based acts like Moodyman, Detroit Techno Militia, Eddie Fowlkes, Theo Parrish, while the after party action is taken care of by three days of pre- and afterparties at The Works.

US grime label Slit Jockey Records is celebrating their 10th anniversary this year with a  '10 Years Of Grime' mini tour with stops in Brooklyn, Providence and Philadelphia and acts Spooky, Starky, Dev 79, and El Carnicero.

It's a big weekend in XLR8R hq Los Angeles with highlights including tonights IHEARTCOMIX party featuring Kastle, Plastician, Swindle, Patrick Brian, and Swelta. On Friday night, Lot 613's Prototype series will see Howling, Ame (live), plus local support from Droog and Plastic Love, while at a nearby secret location JACK promises to go off with Dj Three and resident selectors Jeniluv and MD. Sunblock returns to the Standard rooftop in dtla on Saturday afternoon with Dam-Funk, and later that night The Black Lodge will showcase Underground Resistance artist Nomadico (aka Dj Dex) who is celebrating his latest release on his new imprint Yaxteq, plus surprise guest L.I.E.S. artist WV (White Visitation).

For more event suggestions, to search your city, or to add your own events, visit the events page.



Dekmantel Festival 2015

Various - Amsterdam - Amsterdam, Netherlands

CLUBBIN LUV | Total Fitness (Open to Close) on The Roof


Parang Resident Showcase w/ Fishermin, Davis & Berd

TBA Brooklyn - Brooklyn, NY, US

STUDIO 4/4: T.WILLIAMS & SECONDCITY w/ Nordic Soul & Mikey Mars

Q Nightclub - Seattle, WA, US

IHEARTCOMIX Presents: Club IHC with Kastle Plastician, Swindle, Patrick Brian, Swelta

Los Globos - Los Angeles, CA, US

An Official Lollapalooza Afterparty with HOT CHIP (DJ SET) * SLAPTOP

Smartbar - Chicago , IL, US

Benji B/ Jay Daniel/ Skepta/ Martyn at Output

Output - Brooklyn, NY, US

The Magic Number | Parris Mitchell in The Panther Room

Output - Brooklyn, NY, US

Weiss / Cry Baby / Motum

Cielo - New York, NY, US


Studio 80 - Amsterdam, Noord-Holland, Netherlands


tba friday

TBA Fridays w/ Kristin Lush, Lady Cherelle, Memos & Derek Sampson

TBA Brooklyn - Brooklyn, NY, US


Flash - Washington, DC, US


Bar Standard - Denver, CO, US

Robot Ears - Droid Behavior - Interface 52 at Mighty

Mighty - San Francisco , CA, US

FIXED Presents Erol Alkan/ Fort Romeau/ JDH & Dave P at Output

Output - Brooklyn, NY, US

An Official Lollapalooza Afterparty with LES SINS * CHRISSY

Smartbar - Chicago , IL, US

FallOut Shelter3 • Official Charivari Detroit • The Works

The Works - Detroit, US

Prototype 012: Culprit with Howling, Âme (Live), Droog, and Plastic Love at LOT 613

LOT 613 - Los Angeles, CA, US

Framework and Rolling Tuff present Yousef | Kedd Cook

Sound Nightclub - Hollywood, CA, US

FABRICLIVE 31.7 w/ Playaz, LTJ Bukem & Lenzman

fabric - London, London, United Kingdom


TBA DTLA - Los Angeles, CA, US


Berghain/Panorama Bar - Berlin, Germany

Arena Club invites Joel Alter, Dan Curtin, Tim Xavier & Jamaica Suk

Arena Club - Berlin, Germany

Slit Jockey Recs '10 Years of Grime' ft Spooky, Starkey & more

Palisades - Brooklyn, NY, US


eastern electrics

Eastern Electrics Festival 2015

Hatfield House - Hertfordshire, United Kingdom

Frenzy Afterhours feat. Andrew Hong | Eric J. | Tommy De Niro | DJ One [Fri PM/Sat AM]

Bardot - Hollywood, CA, US

Charivari Detroit


Moon Boots Presents: SUPER FRIENDS

Club Vinyl - Denver, CO, US


The Standard Downtown LA - Los Angeles, CA, US

aIR presents Flying Circus

El Monasterio - Barcelona , Spain

Dark Disco on The Roof | Star Slinger at Output

Output - Brooklyn, NY, US

Full Moon Fest 2015

Brooklyn Mirage - Brooklyn, NY, US

Saturday Sessions featuring Pattern Drama, SONNS, Sergio Santos at Le Jardin

Le Jardin - Los Angeles, CA, US

TBA Saturdays w/ Sleepy & Boo, Joseph Campos & Brion Vytlacil

TBA Brooklyn - Brooklyn, NY, US


Flash - Washington, DC, US

ACCESS | Special Guest, Arkitect, Patrick Brian, Moeity, Crash Override

Complex - Glendale, CA, US

Push The Feeling: Octo Octa (live!) + YR SKULL + Kevin Meenan

Underground SF - San Francisco, US

Stefano Noferini/ Ace Alvarez/ Dev Bhandari

Output - Brooklyn, NY, US

The Black Lodge - Underworld Ft. Nomadico (Yaxteq/UR), WV (LIES/Opal Tapes), Santiago Salazar, Scott Murakami, Force Placement, and Kosmik

Hyperion Tavern - Los Angeles, CA, US


Smartbar - Chicago , IL, US

Slit Jockey Recs '10 Years of Grime' ft Spooky, Starkey & more

The Ruins at Colloseum - Providence, RI, US

Have A Killer Time | Abstraxion/ Tunnel Signs at Stilton House

Output - Brooklyn, NY, US

Vibal | Tedd Patterson with special guest Tommy Bones

Output - Brooklyn, NY, US

fabric 1.8 w/ Visionquest, Dave Clarke b2b Mr Jones & Hudd Traxx

fabric - London, London, United Kingdom


Studio 80 - Amsterdam, Noord-Holland, Netherlands


Berghain/Panorama Bar - Berlin, Germany


Arena Club - Berlin, Germany


2nd street festival shakedown

The 2nd Street Festival Shakedown!

North Bowl - Philadelphia, PA, US

Piknic Électronik Bcn #6 - Pachanga Boys + Deetron + Catz 'N Dogz + Cheesemaker

Jardins de Joan Brossa - Barcelona, Spain

Piknic Electronik

Parc Jean-Drapeau - Montreal, QC, Canada

Sundays on The Roof | Taimur & Fahad/ Ostrich/ Will Renuart

Output - Brooklyn, NY, US

Nexfest: Cop Car

Hollywood Forever Cemetery - Los Angeles, CA, US

Slit Jockey Recs '10 Years of Grime' ft Spooky, Starkey & More

Silk City - Philadelphia, PA, US

Sounds Like Summer Terrace with Trent Cantrelle | Travis Emmons

Sounds Like Summer Terrace - Los Angeles, CA, US


Smartbar - Chicago , IL, US



Krake Festival 2015


Monday Social presents Love From San Francisco w/ Nikita | Papa Lu | Halloran

Sound Nightclub - Hollywood, CA, US


antisocial tuesdays

Anti-Social Tuesdays

TBA Brooklyn - Brooklyn, NY, US

Extra Dark

Kung Fu Necktie - Philadelphia, US


living the dream output on the roof

Living The Dream | Michna/ DJ Luchini Express/ Paul Raffaele/ Kevin Osha/ Ballin' Oates on The Roof


Bushwick A/V Legal feat Taimur Agha + Guada Fk + Felipe B + more

TBA Brooklyn - Brooklyn, NY, US


Flash - Washington, DC, US

Clinic with Denney (Hot Creations) & Guests

Couture - Hollywood, CA, US

Jack Beats / Nick Catchdubs at Output



Studio 80 - Amsterdam, Noord-Holland, Netherlands
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Kerri Chandler's Sunday Sunlight Now Available On Apollonia Music http://www.xlr8r.com/news/2015/07/kerri-chandlers-sunday-sunlight-now-available-on-apollonia/ http://www.xlr8r.com/news/2015/07/kerri-chandlers-sunday-sunlight-now-available-on-apollonia/#comments Thu, 30 Jul 2015 16:00:41 +0000 http://www.xlr8r.com/?p=97754 If spending hours on Discogs digging for classic house vinyl sounds like your idea of a good time, then allow us tell you about a re-issue that is surely going to sell out very quickly.

Kerri Chandler's hard-to-find "Sunday Sunlight" was first heard on the elegant 1999 deep-house EP, Night Moves.  The record was formerly released on the short-lived Metaphor label, which was only around for about two years but which also saw understated releases by Miquifaye and Dennis Ferrer.  The track became an outright underground hit, and first pressings of "Sunday Sunlight" have been breaking the bank on the internet ever since, sometimes fetching upwards of $80 for a fair-condition original pressing without the sleeve. But now, we're treated to a clean repress of this house masterpiece on Apollonia music, the French label run by the DJ triumvirate of the same name. It's  easy to hear why this track was in dire need of a repress when you hear the magic that was ’90s Chandler—and as a bonus, the B-side comes with a Delano Smith remix that debuted last year.

The record is available at Juno right now. You can listen to the remix by Smith on the Soundcloud player below, and you can click here to get your copy of this exemplary release.

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All-Access: MUTEK http://www.xlr8r.com/features/2015/07/all-access-mutek/ http://www.xlr8r.com/features/2015/07/all-access-mutek/#comments Thu, 30 Jul 2015 15:56:12 +0000 http://www.xlr8r.com/?p=97715 MUTEK is a name that any electronic-music aficionado should be familiar with. Launched over 16 years ago in Montreal, it's a festival that's been unwavering in its mission to showcase innovative and avant-garde electronics and art. This year's edition ran across five non-stop days and nights at Montreal's Musée d'art contemporain (MAC), and various other venues in the heart of the city, with world premieres and performances by Cobblestone Jazz, Atom™ & Robin Fox, Dasha Rush, Mathew Jonson, John Tejada, Music For Lamps, Hiroaki Umeda, and many more. With festivals now in Mexico, Barcelona, and Bogotá, XLR8R ventured to MUTEK's birthplace to profile one of electronic music's most inspiring soirees.

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roBOt Festival Announces the Fourth Wave of Artists Scheduled to Play Eighth Edition http://www.xlr8r.com/news/2015/07/robot-festival-announces-the-fourth-wave-of-artists-scheduled-to-play-eighth-edition/ http://www.xlr8r.com/news/2015/07/robot-festival-announces-the-fourth-wave-of-artists-scheduled-to-play-eighth-edition/#comments Thu, 30 Jul 2015 14:59:43 +0000 http://www.xlr8r.com/?p=97856 roBOt Festival has announced the fourth and perhaps final wave of acts scheduled for this year's eighth edition which expands with 10 new artists.

One performance that stands out immediately from the list is the live-set by Siriusmodeselektor. With their participation in roBOt Festival, they will be closing their world tour offering the audience a final opportunity to attend one of their widely acclaimed live sets. The project brings together Siriusmo and Modeselektor, accompanied by the visual artist Pfadfinderei.

Among the national premieres are two live-sets, one by Prostitutes, the stage name of James Donadio, and the other by the Italian Chevel. Also added to the line-up is Koreless, an artist who lives music as a journey and who presents his new live-set. Italian Yakamoto Kotzuga will also be presenting his new album at roBOt Festival.

Among the DJ-sets are Rabit, a rising star of the Tri Angle team and two more Italian DJ sets: Populous and DJ Khalab.

Within this fourth wave, the Red Bull Music Academy presents two artists: the live-set of the Italian Bienoise and The Martinez Brothers.

The 8th edition of RoBOt Festival will take place in Bologna, Italy from October 7 - October 10, with a concert preview at Teatro Comunale di Bologna on September 20.

More information, including the full line-up to date, can be found on the festival's official website.

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Q&A: Steve Cobby http://www.xlr8r.com/features/2015/07/qa-steve-cobby/ http://www.xlr8r.com/features/2015/07/qa-steve-cobby/#comments Thu, 30 Jul 2015 13:00:19 +0000 http://www.xlr8r.com/?p=97385 Over the course of his two-and-a-half-decade-plus career, Hull, England's Steve Cobby has accumulated more pseudonyms than almost anyone out there. And most of them are pretty cool ones, too: Since his late '80s days as the keyboardist and guitar slinger for funk combo Ashley & Jackson, he's been variously known—sometimes working alone, other times with partners—as Horsemilk, 2 Loops Lautrec, PVP, the Solid Doctor, White Dopes On Funk, 2 Loops Lautrec, Barney Mullhouse, Brazil Nuts, Heights Of Abraham, Hey, Rube!, J.S.T.A.R.S., North East Sound System, and Peacecorps. (And that's only about half of them.) But the nom de musique his probably most associated with is undoubtedly the one used by his long-running partnership with David McSherry, Fila Brazillia. Releasing music from 1991 through the mid-'00s—largely on the seminal Pork Recordings run by Cobby and David "Porky" Brennand, with the duo's later music coming out on Cobby, McSherry and Sim Lister's Twentythree label—the duo's sound, like most everything Cobby had a hand in, was loose-limbed, laid-back, a little bit wiggly and a whole lot satisfying. It was sometimes lumped into the trip-hop category, but Fila's was infinitely more accomplished than most of that genre; other times it was classified as acid jazz, though it was never as…well, acid-jazzy as that description would imply. Instead, the sound was hypnotic, otherworldly, and even a bit psychedelic, in its own subtle way.

tisno2 steve cobbyIn 2006, Cobby, with Lister, set up the Steel Tiger imprint—but production-wise, he'd been relatively quiet in rcent years, aside from the intermittent tune as the Cutler, his duo with old pal Brennand. That changed in a big way in 2014 when, under his own name, he put out the well-received Saudade long-player on his own Déclassé label—and this past May, scarcely a year after Saudade, he returned with a new album, Everliving. Like its predecessor,  Everliving is a rich, sophisticated, emotive and accomplished collection of songs, jumping between and through genres and vibes with abandon—though, like most of Cobby's work, the tempo rarely strays much above the 120 bpm mark. (Bonus: The man is a hell of a DJ, too, as anyone who was at the recent Wild Life festival can attest.) XLR8R recently had the pleasure of catching up with Cobby via Skype, and the veteran happily opined on his past accomplishments, his current work, and much more.

I was doing a bit of research before talking to you, and I ran into a fact that I didn’t know: A Fila Brasileiro is a breed of big Brazilian dog.
Not many people are familiar with that fact. The reason that we based the name for the project on that was very ad hoc—as much of my career has been. David McSherry and I have been friends since we were in our teens, and we’d always dallied and experimented together, but had never worked on a solid project. We had separate bands—the standard guitar-bass-drums sort—but when we got together, it was always this kind of open-minded. We just enjoyed ourselves and did whatever we wanted. I had a little production suite—it had been facilitated through the deal with Ashley & Jackson, but when I was dropped from Big Life, I still had the studio to work in, and we used to get together fairly informally and do these little sessions.

Was that the beginning of Fila Brazillia?
Well, what happened was that around the time that we got dropped, Porkie was looking to start a label, and he had heard a couple of things that we had done together, and he asked if he could release one of the tracks. We didn’t have a name for the track, and we didn’t have a name for the project. We ended up calling the track “Mermaids,” because we had a bit of a Robinson Crusoe motif at the time. But we still needed something to call ourselves. I was in the car one day, and I had the radio on, and it was tuned into Today in the Commons, and an MP was calling for a ban on the Fila Brasileiro breed. Apparently, they’re Brazilian type of bull mastiff. Of course, I misheard it completely. I proposed my misheard version, and everyone was okay with it. It wasn’t till a few weeks later that we did discover the correct spelling…but we decided to stick with the way we had it, because we liked the association with the sports company. As well with as the country, of course. And we never thought we would do more than one song, anyway.

You were happily mistaken.
Yes, and the rest is history, as the cliché goes.

Fila Brazillia was such a seminal act of the ’90s downtempo world. Has that been a blessing or a curse in the years since?
I actually spent a lot of time trying to put it behind me. I was making too much of a concerted effort to ditch my history. But as I got older, I did realized that it is the thing that people associate me with, and I shouldn’t disassociate myself from it. And now, I’m quite proud of it! And I’m proud of all my collaborations—not just Fila.

"I like the Kraftwerk model, where you almost treat the process like a factory job and clock on and clock off at regular hours, rather than treat the studio as a bohemian nest where you wait for the muse to descend."

And not just your collaborations—you had a ton of great solo work as well.
Well, after we got dropped from Big Life, I was adamant about owning the means of production. I didn’t want to have to go through another label in order to make a record manufactured. And I realized you more chance of being properly independent if you worked at your own speed. I like the Kraftwerk model, where you almost treat the process like a factory job and clock on and clock off at regular hours, rather than treat the studio as a bohemian nest where you wait for the muse to descend. That view of working in the studio allowed me to be more prolific, I think. Both alone and when I was working with other, and because of the relationship with Pork, I was able to release music as prodigiously as possible. I’m still kind of in that mindset.

jollyboatmanIn actuality, if one looks at your entire discography, there really is a wide variety of tempos and styles in there.
You’re right—I do try to keep it varied. I don’t want to stick to one particular genre. Of course, at times I’ve made music for certain purposes. When I was deejaying every weekend, for instance—I was practically on retainer at the local nightclub—I was making more out-and-out dance music, because I wanted to make music that I could play out. But when I started exploring longer-form recordings in the mid-'90s, as opposed to just doing twelve-inches, I wanted to have work that did span 60 minutes without becoming too repetitive. I wanted to make music with a nice sweep of colors. Like my brother would be bringing Led Zeppelin or Pink Floyd into the house—those albums weren’t just one song, like AC/DC. I’ve said this more than once: Pigeonholes tend to be full of pigeon shit.

Saudade was your first solo album in a while, right?
The last solo record was 18 years ago, as the Solid Doctor. But once I made the decision to do that record and this record, I’m now thinking about an album a year might be about right—not only in terms of getting the work itself done right, but also being able to get it to market. I’m doing it all myself, manufacturing and everything, so it’s a bit of work.

Was it the reaction to Saudade that set you on this path? That record seemed to get a pretty good response.
I was surprised, to be honest!

What does the name of that album refer to?
It’s a Portuguese word. I wasn’t familiar with it myself. I had reached an impasse with something else I had been working on, and I felt like I needed to go off and do something on my own. And the solo album that became Saudade just came out of the blue. I presented some library music to the publishers, music that I had found by going through the hard drives…things that were unfinished or had been cast away. And the publishers choose about 12 of them—but there were 12 they didn’t chose, and I thought it would be a shame if they just sat there and nothing happened with them. So I finished them off and decided put them out on the label that I had been working with—but there was still a lot of friction with that label, so I offered it to other labels. The last thing I wanted to do was to start another label myself. This is the fourth one I’ve been involved with now! But when I offered it to people, I didn’t get any replies—not even a “no, thanks.” Except for Richard Dorfmeister; he got back to me to say that G-Stone wasn’t releasing anymore. I got into a low funk, feeling sorry for myself. Steel Tiger hadn’t really made it; nothing we had put out had done that well. I was thinking maybe it’s time to become a council gardener; maybe I really am a taxi driver; maybe it’s time to get a proper job.

IMG_0052 steve cobbyNo!
Well, I was at that point. But once I got done feeling sorry for myself, I realized that I have this skill set that I’ve built over 30 years. And it’s easier to do things independently now than it’s ever been. So I thought I would try a crowd-funded thing. I went to Kickstarter, and as far as they were concerned, Steve Cobby had no kudos whatsoever. Obviously—because I had never released anything as Steve Cobby! If I had tried to do it as Fila Brazillia, they would have checked the social media, and the points would have been infinitely better. Finally, I decided to do it on Bandcamp—I’ll do it digitally and press up a few CDs, thinking that this would end being something else that would trickle through the cracks.

But it obviously didn’t,
The reaction was a revelation. I didn’t expect it to be nearly as positive as it was. But, to get back to the question about the name—sorry this was such a longwinded answer—I had been posting things up on Soundcloud as I was finishing them, and a Portuguese fan had written, as a remark on one of the tracks, “saudede.” I looked it up, and there was no English translation for it, but it vaguely meant a sense of longing or melancholy. I thought, fantastic! That sums up where I’m at! Originally I was going to release this under the Solid Doctor name, but I thought I’ll come clean and stop this kind of obfuscation, and put it out under my own name. And for whatever reason, there seemed to be a palpable difference in the way that the music was appreciated. I was propelled forward. And that was the seed of this album.

"This is my third wave: The first was with Ashley & Jackson, the second was with Pork Recordings and everything that entailed, and the third is me on my own."

That must have been a great weight off your shoulders.
It was a very good feeling. It was a turning point. And that album was really just picking through the past ten years and finding castoffs; this album was written from scratch. And I’d not done that for like 20 years, really—sitting down and doing solo work. This is my third wave: The first was with Ashley & Jackson, the second was with Pork Recordings and everything that entailed, and the third is me on my own. I’ll still do collaborations, but they won’t be coming out on Déclassé.

I guess that all explains why the new album’s title comes off as a bit more optimistic than one that denotes “a sense of longing or melancholy.”
I’d actually had Everliving on the short list of titles for a while. It’s Rasta terminology for immortality: everliving Jah. What sealed the deal with the name was a quote that I heard from some composer—I forget who it was—but he was asked, “Is there life after death?” And he said, “No, I just do music.” I just thought, there’s your heritage—there’s your legacy! You are almost everliving, in a way. You do these things, and hoping they’ll have a residency…not knowing, you just cross your fingers. But when they do, the ripples travel down through time—and your legacy is intact. As long as there’s electricity, I suppose. [laughs]

Do you ever wonder about how much of our cultural heritage, musical or otherwise, would cease to exist if electricity suddenly disappeared?
Absolutely. But on the other hand, how much more magical must music have been for listeners before they started archiving it? You’d hear it once, and that would be it. You can’t go back and listen to that performance again. Imagine you’re back 300 or 400 years ago, and you just got invited to some baroque recital. It would be like heaven; it would be phenomenal. And it would be sealed in your mind forever—it would have to be, because you knew that you couldn’t listen to it over and over again. Maybe we should make records that we can only make once. Real beauty is ephemeral, isn’t it? The reason something is beautiful is because it appears and then dies. But obviously, life is everliving.

IMG_0337 steve cobbyThere’s a certain mystical quality to some of the song titles, like “The Sober Certainty of Waking Bliss” and “May Flights of Angels Sing Him to His Rest.”
Those are both quotes, actually. “The sober certainty of waking bliss” is from a philosopher named Gerard Heard, talking about the early experiments with LSD—the clinical trials, where people talked about the sea that connects everybody between the islands that we perceive ourselves as. It’s beautiful, the way he elucidates it. When I first heard that…certain things just kind of jump out at you, and they have to go into your notebook. That also happened with “may flights of angels sing him to his rest,” which is a Orson Welles quote, where he’s talking about one of his recently departed friends, eulogizing beautifully. I thought, what a beautiful turn of phrase! You couldn’t imagine anybody saying anything like that nowadays; there’s a real romanticism to it.

On the other hand, the album has songs with names like “Clams” and “Nip It Up Choppy.”
We were going past the local supermarket, and they had rebuilt the petrol station on the forecourt, and my youngest son Eddie said, “They nipped that up choppy.” Another one that went right into the notepad. So Eddie gets credit for that one.

"I don’t want my music to be like a Mondrian painting. There are no straight lines in nature, you know?"

Everliving is a very rich-sounding album, and you use a lot of live instrumentation. Who were the musicians?
Me! Well, I played all the guitars, bass and keyboards. A lot of the drums are me playing on a MIDI kit, and then firing off to BFD, this drum program from FXpansion that I really like. I’m a terrible drummer—and I’m not a particularly good guitarist, bassist or keyboard player, either—but the beauty of having your own recording suite is that you can patch things up to your hearts desire.

I have a feeling perfection isn’t your goal, though.
I try not to get too carried away. I’ll never do more than three passes. I don’t like things that are overproduced; I don’t want my music to be like a Mondrian painting. There are no straight lines in nature, you know? Real beauty has flaws.

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Hi-Five: Ed Rush & Optical http://www.xlr8r.com/features/2015/07/hi-five-ed-rush-optical/ http://www.xlr8r.com/features/2015/07/hi-five-ed-rush-optical/#comments Thu, 30 Jul 2015 12:30:16 +0000 http://www.xlr8r.com/?p=97350 FabricLive 82 Ed Rush OpticalFoot-stomping, fist-pumping breakbeats, designed with rebellious youth in mind—that's the sound of Ed Rush & Optical, and even if you're not an acolyte of their belting rhythms, you've got to admire the consistency of their musical vision. Working both separately and together, they've been at the drum & bass game almost since there was a game—and for much of that time they've called Fabric home, having headed up the bill at the the famed London club's very first d&b night ever way back in the last millennium. Through countless club nights, dozens singles and five albums (including 1999's seminal Wormhole), most released on their own Virus Recordings, they've become synonymous with what's become known as the Virus sound, a neurofunked-up subset of techstep that's comes off like a runaway locomotive. Purists might not dig it—but the kids sure seem to, and the style has served the duo well for the better part of two decades. Almost shockingly, Ed Rush & Optical had never contributed to Fabric's Fabriclive mix-CD series, but that omission has now been rectified via Fabriclive 82, which (as you would expect) is brimming with the kind of frenetic tunes with which the pair made their name. To celebrate the release, the veteran DJ-producers have made a list of their five favorite drum & bass clubs in Europe—no prizes for guessing the identity of the first club on that list.

Ed Rush & Optical launch Fabriclive 82 at Fabric on August 21.

"This list could never be a good representation of all the clubs we play at...there are so many really great clubs for d&b throughout the world. We are just going to focus on some of the best U.K.and European d&b nights we perform at."

1. Fabric (London, U.K.)
We played on the opening weekend and its been our favorite club in London ever since! It never fails to be a great time for us when we DJ and it always feels like coming home. The sound and production in every room is heavy—just the way we like it!

Photo: Sarah Ginn

Photo: Sarah Ginn


2. Star Warz @ Vooruit (Ghent, Belgium)
We have had the pleasure of playing for Starwarz since the first event and it has always had a special atmosphere; the club is an amazing space and the people who go there are very knowledegable about the music, but a lot of fun too so it always ends up with all the DJs, staff and ravers wishing it didn't have to end.


3. Major League @ The Melkweg (Amsterdam, Holland)
Both the club and the Major League crew have been part of our lives for too long to remember, but this is always a much anticipated and guaranteed great night for us—many special memories over the years, but the Virus 15th Birthday was extra incredible. The club is cutting-edge, but as always, it's the Amsterdam crowd that really makes it something else.


4. Bladerunnaz @ Durlin (Budapest, Hungary)
There is a huge list of incredible d&b nights all over eastern Europe. Nnot to forget Let-It-Roll (it's a festival so doesn't make it into this list), but one that is consistently awesome is Bladerunnaz. Thecrowd at their events are totally hyped, and the energy is always immense and in-your-face.


5. Noisia Invites (Groeningen, Holland)
The hometown of one of our favorite production teams and all around musical artists—Noisia puts on a night like no other. The crowd is very well versed in all areas of drum & bass, but what makes it something else is the ridiculous mosh-pit-going-off madness from the crowd. The only place we have ever had the "Wall Of Death" at a gig!

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4DSOUND Unveils a New 24-hour Programme Called Circadian http://www.xlr8r.com/news/2015/07/4dsound-unveils-a-new-24-hour-programme-called-circadian/ http://www.xlr8r.com/news/2015/07/4dsound-unveils-a-new-24-hour-programme-called-circadian/#comments Thu, 30 Jul 2015 10:39:55 +0000 http://www.xlr8r.com/?p=97570 Premiering at TodaysArt 2015, the festival for contemporary art and music in The Hague, Netherlands, 4DSOUND Circadian will present a 24-hour programme that will investigate how spacial sound influences our states of consciousness by exploring new ways to physically connect the listener with the surrounding space. It is inspired by the circadian rhythms that govern our wake-sleep cycle and will take place from September 24 to 27, 2015.

Ranging from psycho-techno, to interactive performances incorporating neuro-sensors and embracing meditation, participants will be guided through the experience by Lisa Park, Oscar Mulero, Marco Donnarumma, and Kazuya with Noqturnl A/V performances by John Connell and Florence To.

Over the last two years 4DSOUND has developed a following through its acclaimed artist residency series and showcases at festivals such as Berlin Atonal and ADE, developing work with artists such as Vladislav Delay, Dasha Rush, Pantha du Prince, Murcof, Biosphere and the experimental imprint Raster-Noton. 4DSOUND has previously given lectures and talks on the applications and implications of spatial sound at interdisciplinary festivals and symposiums such as CTM Berlin, IX Symposium Montreal and Gaudeamus Music Festival.

The collective seeks to embody the range of conscious states of the listener throughout the day, encouraging heightened awareness of environment, mind-body connection, personal insight, creative expression, empathic sensitivity and social interaction.

Further information on 4DSOUND: Circadian is available here.

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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."

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.


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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.


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.


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.

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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