XLR8R http://www.xlr8r.com Accelerating music & culture Fri, 29 May 2015 01:11:07 +0000 en-US hourly 1 http://wordpress.org/?v=4.0 DNGLS Hooly EP (Len Faki Remixes) http://www.xlr8r.com/reviews/2015/05/dngls-hooly-ep-len-faki-remixes/ http://www.xlr8r.com/reviews/2015/05/dngls-hooly-ep-len-faki-remixes/#comments Fri, 29 May 2015 00:11:59 +0000 http://www.xlr8r.com/?p=92136 The original version of "Hooly," produced by the French newcomer DNGLS and released on the similarly fresh-faced Barcelona label Anemone Recordings, is a gleaming gem of a sunrise-techno track, its shimmering, shivering synths floating above the distant thud of a plus-size kick drum. It was a simple yet sublime cut that found favor with the likes of Marcel Dettmann, Carl Craig, and Nina Kravitz—and Len Faki, the Berghain resident and head of the Figure Music label, wisely chooses not to mess with the template too much on this hits-the-spot remix. He keeps the high-end bliss intact—in fact, once it fully kicks in, the synths are perhaps even more prominent than in the original—while tightening up the lower register and percussion just a bit, and subtly adding a few barely-registering, atmospheric bits and pieces. And that's enough, really: His version, while still gorgeous, somehow ends up being more club-worthy than the original by a mile, with a pair of tools—a percussion track and a beatless version—adding to the appeal for DJs. It's great work from both DNGLS and Faki, and certainly bodes well for the upstart Anemone label.

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Boot & Tax Boot & Tax http://www.xlr8r.com/reviews/2015/05/boot-tax-boot-tax/ http://www.xlr8r.com/reviews/2015/05/boot-tax-boot-tax/#comments Thu, 28 May 2015 21:11:05 +0000 http://www.xlr8r.com/?p=92127 When one goes out to seek the fruits that Optimo bears, they usually returns with a cornucopia of weird, everlasting musical mangoes that just never go bad—no matter what shape or shade comes with, it will bear something satisfying beneath the surface. So when the pair signed the likes of Italian analog twosome Cristian Croce and Claudio Brioschi (together known as Boot & Tax) to Optimo Music, the likelihood was that things were going to get wonderfully weird. After two twelves by the dynamic duo, Boot & Tax readied their eponymous debut LP, and after absorbing their last two releases, it's about what you'd expect it to be—off-center analog raspberry jams.  And that's not a bad thing at all.

Crafting an album that eschews the concept of genre classification entirely, Boot & Tax enter worlds of Afrobeat ("Good Fela") and flow into something like Ennio Morricone making a dance track ("Sound Of Baloo") with simultaneous levity and tact. But it's when the thumping kick and guitar licks of "Red Guitar" come in where Boot & Tax takes off and shows their true intentions—it's a fun, disco-tinged jukebox classic waiting to be heralded by its masses. Between vocals from Croce that are simple in their premise, and Brioschi strumming away that guitar between bass drums and claps, it won't be hard to dance along to the rhythm with a smile. Tracks like "Sazarda Gente" and "Father & Son, among the albums other standouts,  follow similar templates, embracing a churning, charming take on dance music.

The less-than-standout tunes are among the album's more straightforward club cuts. Tracks like "Dancin" and "Apnea",might be impressive sounding tools for the dancefloor, but they stick out like a sore thumb in the midst of the  impressive productions surrounding them; perhaps fluctuating between concise, four-to-the-floor tracks and kitschy, rhythmic jam sessions wasn’t the most cohesive way to build the album. However, the record still provides great all-around production, smokey, synth-laden fun and some spaghetti-western twang, all within a 58-minute run time. One thing's for sure, though—if Optimo continues putting out stuff like this on their label, we won't have a classification for dance music anymore. At least we'll still have mangoes.

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daWad Feat. Dr No "Dancing Delight" http://www.xlr8r.com/mp3/2015/05/dawad-feat-dr-no-dancing-delight/ http://www.xlr8r.com/mp3/2015/05/dawad-feat-dr-no-dancing-delight/#comments Thu, 28 May 2015 19:15:51 +0000 http://www.xlr8r.com/?p=92121 Acclaimed Marseille label La Dame Noir will release its second label compilation next month, delivering an LP that is “structured like a long, never ending summer night (aftermath included).” As a label, La Dame Noir champions dark disco sounds, with label tracks being played by the likes of Andrew Weatherall, Tiga, and Bill Brewster. Puled from the compilation is "Dancing Delight" by French producer and IRM Records manager daWad. The track also features Dr No and is trippy journey through the darker depths of disco. A sharp, modulated bassline drives the track, complimented by looped howls and a haunting spoken word vocal. You can download "Dancing Delight" for free below, ahead of the full release on June 22.

Dancing Delight

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RoBOt Festival Announces The First 10 Artists http://www.xlr8r.com/news/2015/05/robot-festival-announces-the-first-10-artists/ http://www.xlr8r.com/news/2015/05/robot-festival-announces-the-first-10-artists/#comments Thu, 28 May 2015 17:49:21 +0000 http://www.xlr8r.com/?p=92087 roBOt Festival has announced the first 10 artists scheduled to play the international festival dedicated to electronic music and digital arts which takes place every autumn in Bologna, Italy.

The current list of confirmed 'live' artists includes Squarepusher (a.k.a. "Tom Jenkinson"), the UK artist who has been considered to be one of the greatest prodigies in the electronic scene for over two decades now. In preparation for the festival, he is preparing a project where drum'n'bass, acid house and jazz are insanely and brilliantly accelerated.

Also scheduled to perform is Powell (a.k.a. "Oscar Powell"), one of the most incandescent talents of techno music and Clark,  an artist who does not follow the herd of the trends who will be presenting a psychedelic and dazed live techno set.

Among the DJ-sets there will be Trentemøller, an artist who rarely tours as a DJ, Nina Kraviz (a.k.a. "Damela Ayer"), the acclaimed producer/singer/DJ of Siberian origins who has become  known for her characteristic acid, techno and house vibrations; and Ben UFO, one of the most talented DJs of the last decade.

Completing the list of artists included in the announcement are Evian Christ [Live], Levon Vincent [DJ], Nathan Fake [Live] and Sherwood & Pinch [Live], all of whom will be performing as part of the collaboration between roBOt Festival and Red Bull Music Academy.

The 8th edition RoBOt Festival will take place in Bologna, Italy from October 7 - October 10.

More information can be found on the official website, and early-bird tickets are available now through here.

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Q&A: Trevor Jackson http://www.xlr8r.com/features/2015/05/qa-trevor-jackson/ http://www.xlr8r.com/features/2015/05/qa-trevor-jackson/#comments Thu, 28 May 2015 17:22:07 +0000 http://www.xlr8r.com/?p=92076 Trevor Jackson's last album of original work, produced under his Playgroup moniker, was released to mixed reviews: Popmatters loved its post-genre oddball eclecticism, for instance, while Pitchfork…well, the site gave Playgroup a score of 4.2. That LP was released in the early days of this millennium (several generations of clubbers ago, in other words) and there's been nary a peep of Jackson-produced material since then. Not that he hasn't been busy. He was the man behind the Output label, for instance, which—between 1996 until its final record, 2007's tellingly titled I Hate Musichelped to define the era's leftfield electronic-music sensibility by releasing music from the likes of Black Strobe, Fridge, LCD Soundsystem, MU, Colder and many, many others. And before, during and after Playgroup and Output, Jackson's had a successful career as a designer, creative director, and related artistic endeavors.

trevor jackson FORMAT-IMAGE-PRESS-alt_smallThat doesn't really account for why it's been so long since Jackson's come up with a new record. But considering the outspoken bluster that the Londoner  has employed over the years—he tends to punctuate interviews with statements like  "I was like ‘fuck that, that’s just lazy’," referring to mainstream record-sleeve design—the real reason for the lack of releases is a bit surprising: "I might have bravado, but I’ve never had confidence," he explains (more on that below). But the Jackson drought, 14 years long, is over—in February, the Vinyl Factory released Format, a collection of beautiful, sometimes stark tracks, many tinged with an EBM/proto-house feel, that had been for years gathering digital dust on the artist's hard drive. But Format was much more than that: After first appearing in the context of a gallery exhibition, the album was then put out as twelve limited-edition tracks, individually released as single cuts on various (sometimes archaic) formats, including seven-, ten- and 12-inch vinyl, CD, mini CD, cassette, MiniDisc, DAT, VHS, USB, eight-track and reel-to-reel. Much more than a gimmick, the concept was a statement dealing with the physicality of music and how listeners interact with it—but now, Format; has gone mass-market via a full-on release as CD and download, with a triple-vinyl release coming out in early June. XLR8R recently had the pleasure of catching up with Jackson, and here are the results of that conversation.

Is it true that the music for Format was basically music you just had sitting around?
I had like 150 tracks, and some of it dates back to when I stopped doing the hip-hop stuff with the Underdog and had started to come up with ideas for Playgroup—so that would date back to the late ’90s. Some of the tracks actually started as demos for the Playgroup album. Then, when I started doing Output, I stopped making music because I was just too busy, but when I closed the label, I started making music again, just for fun. I had no intention of doing anything with it because I was so disheartened about the whole music industry, as well as my place in music.

You’ve been quoted as saying that working with people like Four Tet, Maurice Fulton and James 221Murphy made you a bit insecure about releasing your own music—is that for real?
Yeah, totally! To be honest, part of the reason that I started running a label was because I was avoiding making music, apart from the Playgroup stuff. My place in music is an odd one. I certainly consume a hell lot of music; I do a fortnightly radio show on NTS, and I play 95 percent new music. I buy new music all the time, and the more I buy, the more amazing stuff I hear–and the more insecure it makes me. It genuinely does get to a point where I question the importance and relevance of anything I do. I mean, I might have bravado, but I’ve never had confidence. Getting back to your question—yes, when I was working with Maurice and James and Kieran, it did make me feel insecure about my own music. I never felt my music was as good as theirs. And also, because I had stopped making music…it’s weird. Making music is like swimming or driving a car—when you stop doing it, you lose confidence in it. I’m very proud of my design work—I’ll look at some of it and go, fuck me, that’s great—but with music, it just doesn’t go that way.

So, disregarding the theoretical underpinnings of Format for the time being, why put out music now?
Well, no one had really heard it, but I played some of it to a couple of people who I trusted, and they encouraged me. I needed their encouragement.

Did you release the music as is, or did you work on the tracks further?
They’ve all evolved. None of them are as they were in 1998 or whenever. Some of the tracks, I’d played around with some of them for a decade—but after you hear a track a thousand times over ten years, you lose perspective. That’s why I needed that encouragement. They were like, “This is really fucking good—you should put it out!” And I was like, “Really?”

And how did that become Format? Releasing music is one thing—but this seems like an insanely ambitious way to do it.
I had met up with one of the guys from Vinyl Factory, Shawn [Bidder], when I was doing a project last year called Yesterday, Today, Tomorrow, which was microscopic photographs of record grooves. We started talking about other ideas, and that’s when I came up with the Format idea. And he said, “That’s a good idea!” Again, it was only through other people’s enthusiasm that I decided to put anything out. It wasn’t a plan at all.

I guess since Output’s final release was a compilation titled I Hate Music, you really didn’t plan on releasing any more tunes!
That was a bit tongue in cheek—but I really fucking did hate music! I hated all the people I was working with; I hated the industry; I hated my own music. I hated it all! If I was going to make music, it had to be for the fun of it, which is really why I made most of the tracks on Format. Most of it was actually made in really low points in my life, and was maybe some of the best music I’ve ever made.

The “tortured artist” cliché does have some truth behind it.
It does. I’ve never been into drugs and I’ve never been into booze, and doing music for fun has been the thing that’s helped pull me through. Still, it’s weird for me—I’m proud of the music, but it’s very strange for to sit down and listen to it.

Let’s get back to the conceptual basis of this record. What exactly was it about releasing in all these different versions, some of them quite archaic, that appealed to you?
To be honest, that aspect of this appealed to me as much as the music. The thing was, I hadn’t released an album of my own music in 14 years. That was pre-iTunes; it was pre-YouTube; it was a different generation entirely. I mean, I have a two-terabyte drive here just full of new music—and things get lost really easily. I realized that if I’m going to put something out now, I’ve got to do something special with it. I had to release an album that was more than an album. Even if the music itself wasn’t conceptual, I had to release it in a conceptual way. The physicality of music is immensely important to me.

"The discovery, the purchase, the playing—the journey—is fundamental in the enjoyment of music."

The “how” of music is released, how that physicality relates to the listening experience, is something you’ve always been interested in, right?
Without a doubt, even in the early Output days, when I was messing with different materials and different surfaces for sleeves or whatever. For me, it’s integral—I do adore the ritual of playing things. Not just the vinyl aspect, but everything. For me, the whole process of hearing a track for the first time, going out to find the physical product, opening it up, taking it out, putting it into the machine and pressing play…that ritual is a hugely important aspect of the culture of music. The discovery, the purchase, the playing—the journey—is fundamental in the enjoyment of music. I find it very hard to think of music as purely a listening experience. I don’t want it to be just a situation where you hit play on your iPhone and that’s it, you know? Actually, you’re not even pressing play, you’re pressing a play icon. I need more than that when I need music. So that’s one aspect of the conceptual basis; there are others.

299I suspect you would have gone into this project without having put a lot of thought into it.
Too much thought!

Just on a purely practical level, was it hard to get manufacturers for the various formats?
It was a nightmare. Vinyl, no problem. CD…not too bad, but actually getting a jewel case for a mini CD nowadays is pretty impossible. But then again, I like things to be difficult.

I imagine by the time you get to, say, making MiniDiscs, it gets very difficult.
I did them by hand. I had to actually go out and buy everything. The MiniDisc that we used is a very rare Maxell MiniDisc—black in a clear case. I did manage to find a batch in Japan, and I just recorded them myself. I recorded the 8-tracks myself, too. It was a real labor of love.

That adds another layer to the physicality aspect, I’m guessing.
It was really important to me that a lot of it was done by myself, as maniacal as that is. But I think it’s important to put personal effort to it. If you know that it was done by hand—and not by an intern, but by myself—that adds something to it, I think.

Now the album is coming out as a traditional, widely available physical release as vinyl and CD, as well as via download. With all the conceptual thought behind it, how do you feel about it being released this way?
I actually didn’t really want to happen.

"I don’t have an ego, and I don’t need millions of people to hear my music."

Because it detracts from the concept?
Totally. But that was part of the agreement. I mean, I don’t have an ego, and I don’t need millions of people to hear my music. I would have loved the idea that only the 25 people in the world who had that MiniDisc would be the only 25 people in the world to have that track. But financially, it simply wouldn’t have worked out, and I respect Vinyl Factory’s decision. And they still look beautiful as a product. But, you know, a big part of the whole concept was about controlling how other people listen to your music. I’ll admit that I am a control freak—and I couldn’t really think of a more controlling way to release music than on these specific formats, which people might not even have the machines to play them on.

You don’t like to make things easy for people.
Not at all. I’m anti-convenience. I don’t like lazy culture. The more effort you have to make to do something, the more it means to you. And that’s probably the most important message of this whole project. For me, that’s really what it’s about.

 

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Token Announce Requiem Remixed EP http://www.xlr8r.com/news/2015/05/token-announce-requiem-remixed-ep/ http://www.xlr8r.com/news/2015/05/token-announce-requiem-remixed-ep/#comments Thu, 28 May 2015 10:39:22 +0000 http://www.xlr8r.com/?p=92084 Inigo Kennedy's Vaudeville LP was undoubtedly one of Token's highlights of 2014. Now, following Antigone's twisting Cantor Dust EP, "Requiem", a standout cut from the album, has been resurrected across an all-star remix EP from the label.

The release sees some of the most notable figures operating in the techno scene today turn their hand to the track, from sonic explorer Efdemin to Birmingham veteran Karl O'Connor, (aka "Regis").

The original's twisted melodies are beautifully fragmented across Efdemin's opening offering. As the EP progresses the interpretations seem to get progressively more bent out of shape. Raster Noton mainstay Kangding Ray provides a skittering, paranoid recast of the track. Regis, on the other hand, harnesses the original's bulging low-end, putting his characteristically rugged stamp on the track.

Tracklisting

A1 / Efdemin 'Journey To The Stars' Mix
A2 / Kangding Ray 'Dies Irae' Remix

B1 / Regis 'Human Host' Mix
B2 / Dasha Rush 'Requiem For Humanity' Remix

The Requiem Remixed EP is scheduled for release as a 12" and digital download on July 6.

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Interview: Psyk Announces Plans To Release Latest EP On Luke Slater's Label, Mote-Evolver http://www.xlr8r.com/news/2015/05/interview-psyk-announces-plans-to-release-latest-ep-on-luke-slaters-label-mote-evolver/ http://www.xlr8r.com/news/2015/05/interview-psyk-announces-plans-to-release-latest-ep-on-luke-slaters-label-mote-evolver/#comments Wed, 27 May 2015 17:50:45 +0000 http://www.xlr8r.com/?p=92060 Following last year’s Time Foundation album and the EPs Aracade and Distane, Spanish producer Psyk (a.k.a. "Maan" or "Manuel Anós") has announced plans to return to Luke Slater's Mote-Evolver imprint with his latest Human EP. Like Psyk's other offerings for the label, Human fits neatly into the label's stylistic template of mesmerizing precision yet never forsakes individuality in order to do so.

With its crystalline mesh of bass kick and persistent 8th-note percolations, the opener "Human" immediately lays a foundation which will command listeners' focus before a whole new substrata of strange are introduced. This same strategy is employed on the b-side's "Powder". An additional b-side, "Aumento," features a gorgeous interplay between a high whistling oscillator and its lower pitched counterpart. For purchasers of the digital EP, a bonus mix of "Human" provides an encore performance of the lead-off track with an additional helping of deft filtering, insistent handclap and percussive depth.

 

Ahead of its release on June 22, XLR8R spoke with Psyk to learn more about the influences behind the Human EP.

MOTE043 Artwork A-Side

Illegal parties in Madrid, your own label [Non Series] and your first LP [Time Foundation] on Luke Slater's Mote-Evolver: can you quickly explain how it all happened?

When I was about 16 years old, we used to make raves near Madrid. It was the only chance we had to spin some records and even partying, as in most of clubs it was hard to get in due to the age restrictions. That is when I got really into electronic music.

Non Series was an important point of inflection in my career. It was my own thing and I wanted to make a platform with artists that I liked and the kind of sound I'd love to hear in clubs.

Time Foundation was also a very big step for me. I spoke to Luke [Slater] and we thought it would be nice to try something in a long format. Its an album focused just on club tracks. It was really interesting for me and was a big honor doing it in the label of legend Luke Slater. And, of course, it made sense to release it there as I was releasing my music there for a while.

Has it been a different process for the creation of the Human EP compared to your last work on Mote-Evolver and your album?

The idea behind “Human” was basically the same as my other EPs on Mote-Evolver. Maybe the album is a bit different for me, a bit cleaner and probably fewer elements on the tracks. But still, it is on the same line. The sound is a little different because I changed my studio recently, but I kept the same essence and the idea behind my music.

Roughness, repetitions, anxious sequences and minimalism are more and more present in your productions, as well as this last EP. Is it an aesthetic which serves to describe a utopia, a human feeling, or could it also be a look into the historical period in which we are living? How do you feel when you listen to your sounds again?

Well, that definitely might fit there. Anyway, I think my point of view is simpler than that. As I mentioned before, I try to do music that I'd like to hear in clubs and I do love endless loops, repetitiveness and minimalism. I think it is powerful and beautiful to listen to something that transmits something interesting with just a few elements. I've been always big fan of Rachmad, Plastikman, Basic Channel productions, so probably they also have been influenced my music and taste some way.

Psyk's Time Foundation LP can be streamed in full below.

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Kamera Arc EP http://www.xlr8r.com/reviews/2015/05/kamera-arc-ep/ http://www.xlr8r.com/reviews/2015/05/kamera-arc-ep/#comments Wed, 27 May 2015 15:38:33 +0000 http://www.xlr8r.com/?p=91935 Erol Alkan's Phantasy Sound has been unearthing some fine talent over the last two years, offering a spring board to the likes of Daniel Avery, Ghost Culture and U—and the label continues to lay its cards on the table with a new, shadowy figure joining the ranks. Kamera—following the same acidic, indie-dancefloor-techno-drone that the likes of Avery have created to a tee—brings in sharp acidic flourishes, punk-laced ethics and experimentation galore.

Kamera’s debut EP, Arc, pulls no punches in showing the sound of a new kid on the block, without drifting from the label’s ethos of music that avoids sounding stale, repetitive and formulaic. Opening track "Prince Valium" is a short, sharp shock to brain, by way of bouncing acid bass stabs, zipping and unpredictable drum patterns, and thundering, double-hit bass as the tracks rhythm literally pounds on. Its heavy, brutal and abrasive, but retains a sense of clarity and melody.

"Cold Land" nods to the likes of Venetian Snares, LFO and Ceephax Acid Crew, notching up the tempo to a syncopated, Amen-laced track that’s more in line with the jungle-breakcore crew than the acid-techno heads. 5/7 timing, crashing cymbals and punishing jungle rhythms display another side to Kamera’s all-seeing eye. "Arcsecond" comes to life amid a wave of fire-and-brimstone atmospherics, before a foghorn-style, dirge-blues riff heralds the coming of the storm, remaining beatless and focusing on its hypnotizing, enveloping drone riff.

Closing the EP is "SR," growling and growing evermore more dense as marching percussion beats transform into an industrial analog frenzy, slowly creeping and taking hold amid metronomic rhythms, mechanized flourishes, and a autonomous groove, mixing elements of techno, deep house and minimal dancefloor aesthetics. Stunning and unique, it's another triumphant move from Alkan's forward-thinking label, an exciting, alternative body of work that refuses to be ignored.

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Bells & Whistles "Toes (G&H) (Jozif Let Her Out Remix) http://www.xlr8r.com/mp3/2015/05/bells-whistles-toes-gh-jozif-let-her-out-remix/ http://www.xlr8r.com/mp3/2015/05/bells-whistles-toes-gh-jozif-let-her-out-remix/#comments Wed, 27 May 2015 15:00:54 +0000 http://www.xlr8r.com/?p=92023 Zack Yakovlev & Yanick Rieffel (a.k.a. Bells & Whistles) are a San Fransisco-based duo who originally hail from Russia and Switzerland, respectively. Today, they will release their latest EP, Hands, on the label arm of San Fransisco-based party crew Desert Hearts. The four-track EP finds the pair exploring their deep and trippy style of house, backed up by a remix from London-based artist Jozif, who reworks the moody "Toes (G&H)" into a groovy and melodic cut with soaring synths and an irresistibly infectious bassline. The full EP is available for free here, with Jozif's remix of "Toes (G&H)" available below.

Toes (G & H) (Jozif Let Her Out Remix)

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Laurel Halo, Rashad Becker, Julia Holter, and More Debut as Terepa on Other People http://www.xlr8r.com/news/2015/05/laurel-halo-rashad-becker-julia-holter-and-more-debut-as-terepa-on-other-people/ http://www.xlr8r.com/news/2015/05/laurel-halo-rashad-becker-julia-holter-and-more-debut-as-terepa-on-other-people/#comments Wed, 27 May 2015 14:23:09 +0000 http://www.xlr8r.com/?p=92065 Experimental collective Terepa makes its debut on Nicolas Jaar's Other People imprint this summer with an eponymous two-track EP. Behind the project is a coalition of well-regarded producers including Rashad Becker, Charlotte Collin, Lucrecia Dalt, Laurel Halo (pictured above), Julia Holter, Kohei Matsunaga (a.k.a. NHK'Koyxen), and Grégoire Simon. According to a press release, the seven artists all recorded simultaneously for 20 minutes, using no means of communication "outside of their own telepathic capacities." (Matsunaga is credited with designing the method.) The recordings were subsequently collaged and mixed, yielding two "lucid, essentially chance-based compositions" to be released on white vinyl and digital formats on July 13. The EP's artwork, printed directly onto the record, was likewise a group effort.

Ahead of the release of Terepa, atmospheric b-side cut "8th August 2014" can be heard in part below. "While one artist's signature may simmer to the top for a moment," the label writes, "the gravitas lies in how all seven voices fold together, warping into a swampy, mist-brushed ecosystem that, value of parts given, is more than the sum."

A. 28th October 2014
B. 8th August 2014

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Seb Wildblood Announces Plans for Debut LP http://www.xlr8r.com/news/2015/05/seb-wildblood-announces-plans-for-debut-lp/ http://www.xlr8r.com/news/2015/05/seb-wildblood-announces-plans-for-debut-lp/#comments Wed, 27 May 2015 12:50:48 +0000 http://www.xlr8r.com/?p=92054 Having previously released on Skint Records, Church and Madtech, DJ/Producer Seb Wildblood has announced plans for his debut LP via his own label, SW.

Scheduled for release on vinyl and digitally on July 27, the Foreign Parts LP is a beautiful collection of seven wonderfully melodic and captivating tracks.

Tracklist

Foreign Parts
Moðir
Søndag
Moodlight
Gunvor
Bróðir
Systir

 

 

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Watch The Stunning New Video For Abstraxion's "I Can't" http://www.xlr8r.com/news/2015/05/watch-the-stunning-new-video-for-abstraxions-i-cant/ http://www.xlr8r.com/news/2015/05/watch-the-stunning-new-video-for-abstraxions-i-cant/#comments Wed, 27 May 2015 11:58:49 +0000 http://www.xlr8r.com/?p=92051 French producer Abstraxion's (a.k.a.Harold Boué) latest EP, I Can't, was released via HAKT Recordings at the end of 2014. Now, lead track "I Can't" gets a stunning new video directed by Video Marsh, the same creatives behind videos for Grimes, Caribou, Crystal Castles and many more.

You can check out the full video below.

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Premiere: Stream A Track From Premiesku's Latest EP, Jojoman http://www.xlr8r.com/news/2015/05/premiere-stream-a-track-from-premieskus-latest-ep-jojoman/ http://www.xlr8r.com/news/2015/05/premiere-stream-a-track-from-premieskus-latest-ep-jojoman/#comments Wed, 27 May 2015 11:23:18 +0000 http://www.xlr8r.com/?p=92037 Having previously released on labels such as Vakant, Apollonia and Desolat, Romanian trio Premiesku (a.k.a. "Livio & Roby" + "George G") are now scheduled to release Jojoman, their debut EP on 20/20 Vision.

2014 saw the trio increase their impact on not only the Romanian scene but the worldwide electronic scene as a whole, and their latest EP once again sees them utilise their expertly crafted, percussive production arsenal.

The title track "Jojoman" possesses a bassline which is sure to shift any dance floor and has been on heavy rotation by the likes of Apollonia ever since BPM 2015. “Voice Game” offers a different ride with a playful vocal sample, breaks groove and a vibe reminiscent of a secret weapon from the depths of Villalobos's armoury.

Premiesku’s three original tracks are also accompanied by remixes courtesy of Parisian underground house virtuoso Djebali alongside long term Argentinean amigo, Guti - a relationship formed through both of their connections with the infamous Desolat label, with whom Premiesku released their acclaimed debut LP, Indirect in 2012.

Jojoman is available on vinyl now via Juno Records, with "Voice Game" available to stream below ahead of the EP's digital release on June 1.

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Unsound Reveals Details of 2015 Festival http://www.xlr8r.com/news/2015/05/unsound-reveals-details-of-2015-festival/ http://www.xlr8r.com/news/2015/05/unsound-reveals-details-of-2015-festival/#comments Wed, 27 May 2015 10:18:42 +0000 http://www.xlr8r.com/?p=92031 Krakow's Unsound Festival has unveiled its theme for the 2015 event: Surprise. A press release dispatched earlier today contained only scans of two heavily redacted pages on Unsound letterhead. The "confirmed artist" page (pictured above) is entirely blacked out, while another sheet with festival details (pictured below) has very little legible content, but asks one key question: "How do our expectations affect the value we place on music as an art form?" Unsound isn't the first festival to wager its ticket sales against a strong reputation by keeping its line-up under wraps: earlier this year, partner festival Les Siestes Electroniques, in France, did the same.

Unsound takes place this year between October 11 and 18, and ticket sales open at noon on June 10.

unsound2_052715

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Hear a New Single from Disclosure http://www.xlr8r.com/news/2015/05/hear-a-new-single-from-disclosure/ http://www.xlr8r.com/news/2015/05/hear-a-new-single-from-disclosure/#comments Wed, 27 May 2015 10:09:08 +0000 http://www.xlr8r.com/?p=92027 Disclosure has shared the lead single from its forthcoming sophomore album, following from 2013's hugely popular Settle LP. The pop-house duo of Guy and Howard Lawrence collaborated with Grammy-winning jazz vocalist Gregory Porter for their new track, "Holding On," which also features their own "signature garage-flex production sound."

Disclosure's first appearance of 2015 is slated to take place on June 6 at Parklife Festival, and "Holding On" (out via PMR/Island) can be heard in full below.

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Art Crime Obsession EP http://www.xlr8r.com/reviews/2015/05/art-crime-obsession-ep/ http://www.xlr8r.com/reviews/2015/05/art-crime-obsession-ep/#comments Tue, 26 May 2015 20:03:11 +0000 http://www.xlr8r.com/?p=91961 London's Phonica record shop originally set up its Phonica Records label, at least in part, as a vehicle to put out tracks created by the shop's staff, with Hector Murillo and Anthea Nzekwu contributing to early releases. Here's hoping the two were awarded Employee of the Month status for their efforts—Hector's inaugural track for the label, "Tension" (produced with Ben Bryant) was a masterful nine minutes of brooding, dubby techno, while Anthea, working under the JC Freaks moniker with Werner Niedermeier, came up with "Dub Praise," a subtly jazzy slice of skippy deep house. Those two early harbingers were not only a sign of the label's range—focusing on four-to-the-floor rhythms, but happy to work around house and techno's edges—but also its attention to high-grade work. Six years and 16 or so releases later, and that adherence to quality control is still there, as its latest record, the Obsession EP from Russia's mysterious Art Crime, proves.

Art Crime's previous output, the Never Look Back EP (released on William Burnett's W.T. Records) was something of a revelation—in particular the succinctly titled cut "Release," a shimmering, deceptively simple piano-house piece that conveyed joy and melancholy in equal measure. That's more or less the same vibe you'll find in Obsession's title track, with warm pads, tinkling keys and three-note bassline evoking something of a last-song-of-the-festival, eyes-toward-the-sky feel. It's a beauty, as is the tougher "Show Interest," its angelic synth work anchored by a propulsive rhythm and hard-charging low end. On the flip side, "Eye Contact" is another piano-lead number, but trades in the simple chord pattern of "Release" with more complex, chillier keyboard action—and then there's "Rise Fall Run," a celestial, quivering cut that's downright sublime. It's not exactly prime-time, full-on dancefloor fodder—but it's safe to day that Art Crime is reaching for something on a slightly higher plane.

Click here for more on Art Crime's 'Obsession' EP.

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Podcast 388: Dance Spirit http://www.xlr8r.com/podcasts/2015/05/podcast-388-dance-spirit/ http://www.xlr8r.com/podcasts/2015/05/podcast-388-dance-spirit/#comments Tue, 26 May 2015 16:04:27 +0000 http://www.xlr8r.com/?p=91897 Chris Mohn and Reagan Denius attribute the music they make under the Dance Spirit moniker to a "philosophy based on attaining subconscious harmony through rhythm, timbre, melody, and movement"—and that metaphysical inclination towards positivity shines through on their debut album, The Sun Also Rises, recently released on Audiofly's Supernature album. The ambitious LP brims with emotional and instrumental richness (live playing figures prominently), and even a casual listen affirms the pair as masters of multihued and dreamy music that aims as much toward one's headspace as it does for the dancefloor. Fans of the Southern California duo may also know Mohn and Denius through their previous incarnations, Proper Villains and Android Cartel, which traded in (slightly) more traditional electronic-house fare—but fans of any of the pair's recorded output might not be prepared for this gorgeous Dance Spirit podcast. As you might expect if you've heard The Sun Also Rises, the mix is certainly lush—but it's the kind of focused, late-night lushness that you can't help but get lost it. It's an engaging, subtle, utterly groovy set, one that that we think will transport you to someplace quite beautiful.

VIDEO: Dance Spirit's Chris Mohn and Reagan Denius discuss their XLR8R podcast.

XLR8R Podcast 388: Dance Spirit by Xlr8r on Mixcloud

 

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Omar-S and OB Ignitt Team Up for Collaborative EP http://www.xlr8r.com/news/2015/05/omar-s-and-ob-ignitt-team-up-for-collaborative-ep/ http://www.xlr8r.com/news/2015/05/omar-s-and-ob-ignitt-team-up-for-collaborative-ep/#comments Tue, 26 May 2015 13:25:51 +0000 http://www.xlr8r.com/?p=91996 As reported over on Juno, Detroit titans Omar-S (pictured above) and OB Ignitt have announced that they are to team up for a new collabrative EP. The four-tracker, entitled The ’90s Evolution of What it Was, is the latest fruit of the friendship between the pair, which as Juno notes has also yielded 2012's collaborative Wayne County Hill Cop’s (Part.2) 12", plus the pair of solo OB Ignitt records subsequently released on Omar-S's FXHE label. The new EP's artwork and tracklist can be found below ahead of the record's full release on OB Ignitt's OBONIT imprint in late June.

NEW-EVOLU-PROMO
Tracklist:
01. Seem Like Y'all Ready
02. Fellow Me
03. Hold The Line

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Sleeparchive Shares Six-Track Cassette EP From 1998 http://www.xlr8r.com/news/2015/05/sleeparchive-shares-six-track-cassette-ep-from-1998/ http://www.xlr8r.com/news/2015/05/sleeparchive-shares-six-track-cassette-ep-from-1998/#comments Tue, 26 May 2015 12:05:22 +0000 http://www.xlr8r.com/?p=91993 As pointed out on RA's Feed section, Roger Semsroth (a.k.a. Sleeparchive) has made available to stream a six-track EP he originally released on a limited run of 100 cassettes in 1998. Data Tracks, which was recorded under his long-defunct Skanfrom alias, finds Semsroth exploring a pastoral-yet-synthetic sound that echoes certain contemporaneous releases on labels such as Rephlex and Skam. It can be enjoyed in full on the player below.

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Optimo Readies New Optimo Music Disco Plate; Preview it Now http://www.xlr8r.com/news/2015/05/optimo-readies-new-optimo-music-disco-plate-preview-it-now/ http://www.xlr8r.com/news/2015/05/optimo-readies-new-optimo-music-disco-plate-preview-it-now/#comments Tue, 26 May 2015 10:55:19 +0000 http://www.xlr8r.com/?p=91984 In March we reported with considerable excitement on the upcoming release of Noo's Must Be The Music, the stunning third edition of Optimo Music's Optimo Disco Plate series. Now the series, which as label boss JD Twitch points out has now become a fully-fledged label in its own right despite originally being intended only as a vehicle for a one-off release, is ready for its fourth outing.

Optimo Music Disco Plate Four is a three-tracker from Sex Judas Feat. Ricky, a project that, in Twitch's words, "started up a few years ago to channel an anonymous Norwegian producer’s love for comics, political satire, music history, eroticism and above all electronic music. Imagine Damon Albarn’s Gorillaz project on acid, or the musical versions of The Fabulous Furry Freakbrothers on, well whatever they are on. Portrayed as a classic twosome, enfant terrible Sex Judas and his trusted sidekick Ricky come across as some kind of musical nomads with a hippy take on life."

"Musically it’s all over the place," Twitch continues, "but the essence of jamming and the love for African-American music shines through. Inspiration is taken from German psychedelic rock, deep southern disco, rhythm and blues, classic house and techno, and the avant-garde." Previews of all three tracks can be heard on the player below ahead of Optimo Music Disco Plate Four's full release on June 1.

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El_Txef_A Returns With We Walked Home Together - Remix Pack II http://www.xlr8r.com/news/2015/05/el_txef_a-returns-with-we-walked-home-together-remix-pack-ii/ http://www.xlr8r.com/news/2015/05/el_txef_a-returns-with-we-walked-home-together-remix-pack-ii/#comments Tue, 26 May 2015 07:44:28 +0000 http://www.xlr8r.com/?p=91977 Following the release of his sophomore long player We Walked Home Together through Fiakun, El_Txef_A returns with a series of remix packs on his own newly created label Forbidden Colours.

While the first remix pack brought us the darkest side of the album, the Basque imprint now explores other textures. From the German cult of Ada, to Hrdvsion’s analog raw sound, the second release pack also includes a smooth and pleasantly weird Bostro Pesopeo rework. Additionally Good Guy Mikesh projects his unique vision on El_Txef_A’s work and Bedouin wraps things up with a mystic and shamanistic feeling.

We Walked Home Together Remix pack II is scheduled for release on July 13. The vinyl release will be limited to 300 copies and shops can order direct from shop@forbiddencolours.net.

Tracklist:

Vinyl:
A1 - El_Txef_A - Every Day Is Blue Monday feat Meggy (Ada Remix)
A2 - El_Txef_A - Every Day Is Blue Monday feat Meggy (Bostro Pesopeo Remix)
A3 - El_Txef_A - Every Day Is Blue Monday feat Meggy (Good Guy Mikesh's Totally Whacked Mix)
B1 - El_Txef_A - The Love We Lost feat Woolfy (Hrdvsion Remix)
B2 - El_Txef_A - The Love We Lost feat Woolfy (Bedouin Remix)

Digital:

01 - El_Txef_A - Every Day Is Blue Monday feat Meggy 
(Ada Remix)
02 - El_Txef_A - The Love We Lost feat Woolfy (Hrdvsion Remix)
03 - El_Txef_A - Every Day Is Blue Monday feat Meggy 
(Bostro Pesopeo Remix)
04 - El_Txef_A - Every Day Is Blue Monday feat Meggy 
(Good Guy Mikesh's Totally Whacked Mix)
05 - El_Txef_A - The Love We Lost feat Woolfy (Bedouin Remix)

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Premiere: Stream The Margaret Dygas Remix of Fink's Latest Single, "Fall Into The Light" http://www.xlr8r.com/news/2015/05/premiere-stream-the-margaret-dygas-remix-of-finks-latest-single-fall-into-the-light/ http://www.xlr8r.com/news/2015/05/premiere-stream-the-margaret-dygas-remix-of-finks-latest-single-fall-into-the-light/#comments Tue, 26 May 2015 07:23:04 +0000 http://www.xlr8r.com/?p=91970 The trio known as Fink (Fin Greenall, Tim Thornton, Guy Whittaker) spent much of the winter and spring riding lasting acclaim for 2014’s Hard Believer whilst touring the USA and pretty much everywhere with a venue in Europe.

Following the album's success, they now present single "Fall Into The Light", a glitchy, echo-laden gem from Horizontalism released alongside three remixes that each lend a decidedly different flavour.

Berlin’s Prequel Tapes stretches notes to new, metallic lengths in a constantly evolving and unfolding ten-minute re-work. Panorama Bar resident and Perlon artist Margaret Dygas reduces the track to its most hollow, but steadily beating core, delivering pure art as a result. Deadbeat adds elements of Jamaican dub to lighten the step but not detract from the mood.

All four interpretations are available in June via R’COUP’D, with the Margaret Dygas remix available to stream below ahead of the full release on June 1.


Tracklist:
1) Fall Into The Light
2) Fall Into The Light (Prequel Tapes Remix)
3) Fall Into The Light (Margaret Dygas Remix)
4) Fall Into The Light (Deadbeat Remix)

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Orthy "Night Touch (Mijo Remix)" http://www.xlr8r.com/mp3/2015/05/orthy-listen-to-her-heart-mijo-remix/ http://www.xlr8r.com/mp3/2015/05/orthy-listen-to-her-heart-mijo-remix/#comments Mon, 25 May 2015 15:00:24 +0000 http://www.xlr8r.com/?p=91889 Orthy is the musical project of Austin-based songwriter and producer Ian Orth. Orth will be releasing a special digital release of his reworking of Tom Petty's classic "Listen To Her Heart" via Dither Down, on May 19. The release will arrive with a batch of remixes from Cosmic Kids, Aimes, Roy Dank, Birds of Pandaemonium, and the one in question here by Mexico City producer Mijo. Mijo heads straight for the dancefloor with his rework, which transforms the slow-burn feel of the original into a club-ready bomb. Starting out with a thumping kick and ping-ponging toms, Mijo patiently adds layer after layer, melding chopped vocal samples, soaring pads, and chords to devastating effect. You can download Mijo's remix of "Listen To Her Heart" below, with the full EP available here.
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Grimes Plots New Album http://www.xlr8r.com/news/2015/05/grimes-plots-new-album/ http://www.xlr8r.com/news/2015/05/grimes-plots-new-album/#comments Mon, 25 May 2015 14:23:14 +0000 http://www.xlr8r.com/?p=91945 Grimes has announced that the follow-up album to 2012's Visions will land in October. Taking to Twitter earlier today to share the news, the Canadian artist says the varied and as-of-yet-untitled LP uses a lot of real instrumentation and will be "surprise released all at once." "I want fans to get it before press," she continued, "and the tracks should be heard together." Apart from disclosing that none of the new tracks resemble her latest singles "Go" and "REALiTi," further details of the album are being kept under wraps for the time being. (via Pitchfork)

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Interview: Man Power http://www.xlr8r.com/features/2015/05/interview-man-power/ http://www.xlr8r.com/features/2015/05/interview-man-power/#comments Mon, 25 May 2015 14:01:15 +0000 http://www.xlr8r.com/?p=91830 As with John Talabot, Redshape and Ten Walls before him, the identity of the anonymous producer Man Power has been electronic music's favourite guessing game lately. Names such as Talabot, Michael Mayer and Tim Sweeney have been thrown around as possible crafters of the textured, genre-straddling house and techno of his recent EPs for Correspondant, Hivern, and most recently New York's Throne of Blood. The producer in question hasn't revealed his identity as yet, so it's something of a surprise when I dial him up for what I assume will be a sound-only Skype call and am cheerily greeted by a man in his 30s in a blue denim shirt and wooly hat, his grinning face very much on camera and unobscured by shadow, mask, or gigantic ornamental feather.

His face (and his jovial Newcastle accent for that matter) is naggingly familiar. I mention this during a later exchange of messages and say I think I must have seen him play at some point. "Maybe," he replies, before adding with a certain glee, "or maybe we've even met..." Though I (maddeningly) can't place him exactly, I can put to bed any lingering Talabot/Mayer/Sweeney rumors, unless any of those guys has invested in prosthetics and accent lessons lately. When pressed, he says he'd prefer to wait until his self-titled album comes out (today, May 25, as it happens, so hopefully I'll have been put out of my misery by the time you read this) before he absolutely confirms who he is, though he admits he has generally been a lot less guarded about it in recent weeks.

"[My anonymity] wasn't intended as a gimmick, but I'd be full of shit if I pretended it hadn't ended up helping me get noticed."

"The guesswork is a lot more interesting than the truth I'm afraid," he laughs. "Being anonymous started as a necessary evil, simply because before Man Power I did a project with two friends, which is still a going concern but has been on the back-burner lately. We had built up a network of bookers, and when I found myself in the position of wanting to do something solo I wanted to avoid it being lumped in with that project, because I thought that bookers would look at the situation and say, 'we can book these three guys and pay three sets of expenses, or we can just book this one guy and it'll be the same thing'. So I felt like I'd be stabbing the other guys in the back if I didn't keep it a secret. Also that project is a lot more Balearic/disco-oriented whereas with Man Power I wanted to explore either odder or tougher sounds, so I decided to take who I was out of the equation and work with new labels and new bookers in a totally new place. It wasn't intended as a gimmick, but I'd be full of shit if I pretended it hadn't ended up helping me get noticed."

The "new place" Man Power refers to is Berlin, where he has been based since late last year. It was "moronic" to move there in the grip of winter, he laughs ruefully. I say I think most of his music feels like a warm-weather thing, and he agrees. "I seem to play in a lot of really hot countries, so all winter I'd be coming back from Israel or L.A .or Mexico or wherever wearing a little jacket and just be weeping on the U-Bahn ride home." He's been DJing "for about 20 years," and before his move to Berlin was based in his hometown of Newcastle in the north of England, where he and his two friends have enjoyed "as much success as we were looking for" with their group project.

So how did a member of a (self-described) "very niche" Balearic/disco project in the north of England end up casually flicking out his first two solo EPs on two of Europe's most respected labels and building up a fearsome head of creative and critical steam from there? Simply by aiming high, it turns out. "Without wanting to say that I'm in a position to be doling out advice, if anyone asked me for one tip I'd say to them to start off at the top of what you want do and work back from there. I just really liked what Jennifer (Cardini) was doing with Correspondant and what Talabot was doing with Hivern, so I got in touch with them. They liked what I sent them, we got to know each other, and it all happened from there."

Man Power talks in quite touching terms about Talabot and in particular about Cardini, label head of Correspondant, which put out his Kiloton EP this time last year and is now releasing his album. "Having Jennifer as a sounding board has been totally vital to the album coming out the way it has. She would constantly tell me to tighten this or that up, to not repeat myself and so forth, and there's no way it would sound the way it does without that. I sort of hesitate to use the word 'mentor' but really it's totally justified, I owe her a lot. She's a great person who has a very selfless ambition to give exposure to the music that she really loves."

The breadth of styles and consistency of quality in Man Power's records to date are one of their most obvious and notable characteristics. He loosely defines the sounds he's looked to create for Correspondant and Hivern as "a tougher, slower techno sound" with the former and "more spacey weirdo multi-influence stuff" with the latter, while his Throne of Blood EP hits on slightly darker textures. The album, meanwhile, is a work that expertly weaves together too many influences and inspirations to name, but that has an overall sunny glow and lightness of touch that should ensure his days of shivering on the U-bahn after gigs in hot countries are far from over.

"I grew up with my grandparents," he explains, "but still saw my parents, so I had more than one set of influences. One set of grandparents would be listening to Bing Crosby, then the other set Nana Mouskouri and Ray Charles. My dad was into blues and Americana and my mum was into acid house, so it just kept my ear open a bit more I suppose. Even when I was going out all the time I was never a house kid or a techno kid; you'd be just as likely to find me in a rock club or a commercial club or whatever. I just loved music full-stop I suppose."

Man Power's description of the experience of making his album ("like doing a jigsaw puzzle, in the dark, but you have to cut the pieces yourself") fits well with the image of a producer toiling to assimilate this lifelong cascade of influences, though the clarity and cohesiveness of the finished work suggests a knack for self-deprecation, extremely hard work, or both. The warm, propulsive house of "Forget To Remember," "Tofu ist der Teufel"'s charisma-soaked blend of trumpet and clicky, precision-aimed drums, and "TEN"'s beautiful, sun-dappled guitars, are among the first-listen standouts. Really, though, Man Power is an "album" in the truest sense: a full-length that rewards repeated, concentrated immersion from beginning to end. Laurie Anderson, Steve Reich and Tangerine Dream are mentioned as particular influences, with Anderson's 1982 debut LP Big Science clearly a particular inspiration for how "the same synthetic refrains come in and out throughout the record."

MAN_POWER_half_roughNever shy to credit the input of others, Man Power is at pains to point up the influence of Suade, a fixture of the Newcastle music scene with ties to the Items & Things label. "He's a genius," he says bluntly. "He did mastering and some mixing on the album, and having his ear was so important. He also gave me access to outboard compressors and stuff like that from his studio, which added a really nice vintage feel to a lot of the tracks. He's never been as well-known as he should be outside Newcastle, but apparently through this, Talabot and some other people have become aware of him and are going to work with him, so hopefully it's been worth his while."

Man Power's plans for the rest of the year seem to outnumber the weeks left in it. From planned EPs for Voyeurrhythm and This Is Not An Animal and developing his own LBL imprint, to live shows alongside Rebolledo as Topaz Efimero, and planning a two-month stint in Mexico to record a second LP with a full-band setup, he looks very well-placed to make the most of the position he's found himself in, not to mention thoroughly, refreshingly excited by it all. In the course of taking me through some of the torrent of ideas and plans in his head, he laughingly recounts an idea he and his friend Moscoman had recently to team up under the name Moscomanpower. I suggest that Matrixxmanpower might also be a decent idea, and his face lights up. "Wow...Matrixxman is probably my favourite producer of the last year," he gasps, mental cogs spinning away immediately. "I think I might send him an email…"

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Blawan Details Second EP on TERNESC, Streams Clips http://www.xlr8r.com/news/2015/05/blawan-details-second-ep-on-ternesc-streams-clips/ http://www.xlr8r.com/news/2015/05/blawan-details-second-ep-on-ternesc-streams-clips/#comments Mon, 25 May 2015 08:37:18 +0000 http://www.xlr8r.com/?p=91940 Last month, a newly Berlin-based Blawan inaugurated his new label, TERNESC, with a sampling of some of his first solo material to see release since 2012. Now, UK-born producer Jamie Roberts (who also serves as one half of Karenn alongside Pariah) has revealed details of the second EP in the series. Set to arrive on June 16, Hanging Out the Birds offers four fresh modular techno cuts, though—as Resident Advisor points out—keen listeners may recognize the title track from Pearson Sound's recent Beats in Space mix. EP clips are available to stream below.

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Repitch, Cosmo Rhythmatic and 3TH: A New Generation of Techno in Berlin http://www.xlr8r.com/features/2015/05/repitch-cosmo-rhythmatic-3th/ http://www.xlr8r.com/features/2015/05/repitch-cosmo-rhythmatic-3th/#comments Sun, 24 May 2015 18:44:19 +0000 http://www.xlr8r.com/?p=91868 Ten years ago, minimal techno sound resonated throughout Berlin; today, one of the most vibrant of the city's techno formulations is one that's heavily influenced by noise and dark industrial sounds, fronted not by one leading name but rather by a gradually evolving collective throughout the city. Instrumental within this collective are Shapednoise (a.k.a. Nino Pedone), Ascion [a.k.a “Pasquale Ascione”) and D. Carbone a.k.a. Honzo (a.k.a “Davide Carbone”), three Berlin-based producers who have played at events including Berlin Atonal, CTM Festival, and Contort.

Together, Ascion and D. Carbone run 3TH, a small imprint that focuses on an experimental techno output, while together all three run Repitch, as well as Cosmo Rhythmatic, a small label that will soon release the collaborative album of Franck Vigroux and renowned Finnish minimalist producer, Mika Vainio. Following this announcement of that LP, XLR8R sat down with them to discuss the motivations and inspirations behind their labels.

Let’s start with Repitch, the label you all started together in 2011. How did that come about? What was the the original idea?
Ascion:
It’s quite easy really. Davide [Carbone] and I were both producing music, both of us techno with a minimal approach. We are from the south of Italy but started living together when we moved north to study. When we were there, it became clear that we shared the same ideas both had a love for music, so we decided it was important that we had our own platform. It was actually the same time that we met Nino, we spoke with him about our idea. We began chatting online and it became clear that we had very similar tastes, so the label actually developed quite naturally.
D. Carbone: In the beginning, Pasquale and I had been producing and releasing for a while. When we met Nino, we found distribution and it all just grew from there. Day by day, we also shaped the sound of the label; I think it became a mix of all of our individual sounds.

And what about the name?
Ascion:
It’s named after an old project of me and Davide which was entitled Pitcher, so Repitch sounded right because we wanted to make something new.

Nino, what were your inspirations for coming on board?
Shapednoise:
When I began speaking with Davide and Pasquale, I hadn’t actually started producing music. Pasquale and Davide told me all about the project and it sounded really interesting.

And did you have a specific vision that you wanted to achieve? You mentioned earlier that you wanted a platform to release both your music and that of other artists. Is there any more to it than that?
Ascion: We didn’t really have a genre we wanted to target; it was just music that we enjoyed at the time—just uncompromising electronic music.

Shapednoise

Shapednoise

Shapednoise: We didn’t really have a vision at the start, but I feel that Repitch artists today have a specific kind of style that you can recognize almost immediately. We like to release the music of artists who produce slightly left-wing techno; we’re looking for techno that is a little bit more personal and complex in its style. I think that all the artists that have released on our label have done so because they have a style of techno that you can recognize easily. In short, it has become a vehicle for giving unique artist a platform to get their music out there. For me, it is too easy to produce just the regular techno or drum & bass or something, but doing something really personal and developing a unique style is just something a lot more interesting. This takes more time and this is what we want to promote and celebrate.

That raises the question of how you do your A&R—how do you try and find these artists?
Ascion:
Basically, there is a range of different ways we find this music. Sometimes it is via the Internet, other times it is via a friend of a friend or something like that. I think the growth of digital communication has facilitated A&R processes for the music we’re looking for, and we use this a lot. Nowadays there are so many more ways of finding music.

Do you proactively search for artists on SoundCloud?
Ascion: Not that much. Gaja, for example, who released on Repitch, was a guy that we met here in Berlin, and we realized that he was a very good producer. We asked him to release on Repitch. It’s also important that we are friends with them; the A&R process is far more than just a professional relationship.

And do you get lots of demos?
Ascion:
We do, yes. We receive quite a lot of unsolicited demos from unrecognized producers, but it’s very rare that we release this on the label.
D. Carbone: It normally happens that we ask artists to come and release on the label. We will hear them and recognize straight away that his sound is right for the label. We will then approach them to join Repitch.
Shapednoise: That said, sometimes we do release artists who approach us via a demo. For example, we found Stave, who released on Repitch, via a demo. He wrote to us asking for a feedback about his music, and that’s how he ended up on Repitch.
D. Carbone: Almost always, about 90 percent of the time, when one of us finds an artist, the other two will agree that he is right for Repitch. I can’t really remember a time that one of us found an artist and we didn’t all agree that he was right for the label. We know each other’s taste pretty well nowadays.

How did you learn to run a label?
D. Carbone:
By making mistakes! It’s completely trial and error, to be honest with you. Nobody has explained this to us, and we have learned by experience. Gradually you learn which are the best distribution companies for you and how to do the business side that’s required for a label to grow.
Shapednoise: I think that once you begin running a label, you learn pretty fast. It becomes clear what’s working and what is not, and it just takes a bit of time to understand the process.

Do you keep the roster of artists intentionally quite small to ensure the quality of the output?
Shapednoise: Yes. That’s very important. We analyze the roster very carefully to ensure we can offer the artists what they want. We will evaluate how far the artist has gone, what they’ve got coming under and then make decisions on how to tweak the roster.

Talk to me briefly about the Repitch showcase parties that you’ve started. What’s the idea behind these, and what’s the criteria for a party?
D Carbone:
The idea is to grow and celebrate the label. They’re always fun! We don’t have a specific club or venue because it’s not that important. As long as there is good music and a good energy, then the party will work.

Ascione

Ascione

Ascion: The label has grown enough now that sometimes we are getting requests from venues to hold these parties. We will then look at the venue and see if it is fit for a Repitch party. There isn’t a specific criteria but it is important that all three of us play in the event—this is the only way of establishing the sound of the night. In addition to this, we will normally have a guest from the Repitch roster to showcase what we have coming up.
Shapednoise: The promoter must understand what we are looking to achieve, and we will always speak with them to make sure they can make it work. It was amazing because last year we played a party in Milan, and it was clear that people had come to see the label and us play, not just for the venue. It was a pretty cool feeling because it wasn’t just the hype of the club that sold the tickets; most of the people had come for us and promoter did a great work too so the energy really was incredible.

All three of you also started Cosmo Rhythmatic in 2014. Do you see this as a sub-label of Repitch or as a completely different entity?
Ascion:
I think it is a sister label. For us, it is on the same level as Repitch; it’s just a different label with different goals.
Shapednoise: But it is clear that the two labels are connected to each other. It’s not like Repitch is the main label and Cosmo Rhythmatic is a lesser label. Whereas Repitch focuses on left-wing techno, we founded Cosmo Rhythmatic to focus on the more abstract and noisy side.
D. Carbone: I also think that both the labels complete and compliment each other.

If Cosmo Rhythmatic was started to focus on more abstract techno, do you feel that Repitch has its own unique identity nowadays—and that you must protect it?
D. Carbone:
Yes, that’s exactly it. It’s a different type of music, and if we released Cosmo Rhythmatic music on Repitch, it would damage the integrity of the brand and confuse the fans of the label. It just becomes confusing.
Shapednoise: The idea for Cosmo Rhythmatic arose because I became more and more interested in this abstract avant-garde noise, and I had just stopped my old label Violet Poison. Because of this, I needed a platform to release this noisy, abstract techno, so we just decided to go and do it.

You released the Franck Vigroux EP, Centaure, at the end of 2014, and you’ve followed this up with the new Mika Vainio collaborative album coming on Cosmo Rhythmatic.  How did that come about?
Shapednoise:
I was in touch with Frank for a year, and we played a couple of shows together. I was really impressed by his work, so the main idea came about because we just wanted to work together. We all decided that Franck was a perfect for the label, and the Centaure EP expressed the more electronic side of his work. He usually composes music and lots other things, so this was a something new for him too. We went to lunch and we just felt inspired. The collaborative album came about because Frank was excited about the work we did with the EP, and he had already started speaking with Mika. We all met up and then we decided to release this on our label.

What makes this label unique in such a saturated market?

D. Carbone

D. Carbone

D. Carbone: I think it is too early to really understand this yet, and we must wait for another two or three releases. However, I the idea at the moment is to focus on completely original collaborations between different artists. The label is growing slowly, not just because we keep the roster of artists small, also because we are thinking a lot on what we are releasing. We’re focusing very much on completely unique on individual projects and collaborations.
Shapednoise: Collaborations are certainly something we’re going to focus on. It’s like the Mika Vainio and Frank Vigroux album we have upcoming; this is one of the first ones—although there will be one before that.

Finally, lets quickly discuss 3TH. Is it just a vehicle to release your own material, Pasquale and Davide?
D. Carbone:
I could release my experimental work on Repitc,h but it doesn’t make sense to jeopardize the brand of the label. It’s simply because not all the tracks we produce will fit on Repitch and Cosmo Rhythmatic. When I am producing, I am not putting all of them on Repitch or Cosmo Rhytmatic.
Ascion: If you listen to the 3TH catalog, it’s is quite eclectic. They are linked to each other but they are all different styles. It’s not like they are all the leftovers from Repitch or Cosmo Rhythmatic, it’s a completely different project that we started with Lucindo in 2013 that allows us to experiment. I also wanted to focus more on visuals, and Davide wanted another platform to explore other avenues, so it just made sense. It allows us to experiment with our techno sound. We make so much music that we needed another platform!
Shapednoise: I think also that we all specialize in our own sound. Cosmo Rhythmatic came about because I moved onto obscure avant-garde noise and Davide and Pasquale went on to different forms of techno, so that’s why 3TH started.

How do you find the time to run a label? Do you all have different tasks?
Shapednoise:
We have definitely got different roles. I focus very much on the A&R for Cosmo Rhythmatic while Pasquale and Davide focus on Repitch, I feel. In the artistic side at least, we’ve all definitely split.
Ascion: I’ve always take care of the graphic side of the labels - I create all the graphics, including the websites, logos and the t-shirts and so on. Davide then focuses on the technical stuff.
D. Carbone: I don’t know how we find the time!

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Ron Basejam Tales From the Night EP http://www.xlr8r.com/reviews/2015/05/ron-basejam-tales-from-the-night-ep/ http://www.xlr8r.com/reviews/2015/05/ron-basejam-tales-from-the-night-ep/#comments Sat, 23 May 2015 21:03:45 +0000 http://www.xlr8r.com/?p=91907 “When I Hear That Music,” the lead track on Ron Basejam’s new Tales From the Night EP, has a feel reminiscent of something that a generation of NYC clubbers might have danced to, circa 1982, at clubs like Paradise Garage. Its loping, skeletal rhythm, ghostly dub effects and swirls, and overall moody vibe are not so far off of the sound of songs like, say, “Walking on Sunshine” by Rockers Revenge or “Don’t Make Me Wait” from Larry Levan’s Peech Boys—which, of course, is a very good thing. Also good: The cut’s hypnotic, subtly relentless feel is reminiscent of what masters of nostalgic, funk-fueled repetition along the lines of Tiger & Woods and the Revenge strive to achieve in their best moments. But “When I Hear the Music” is far from a slavish copy of any of the above. Basejam—known to his pals as Jim Baron, and a member of U.K. boogie-house unit Crazy P (with Danielle Moore and Chris “Hot Toddy” Todd— is far too talented to borrow a few tricks and call it a day. The flourishes he tosses into the mix—a rhythmically propulsive synth, jazzy little piano riffs, horns, a minimal bit of bluesy six-string, some naggingly familiar vocal samples and more—make the song his own, and the end result is a gem of a tune.

And it’s not the only one to be had on the EP, released on the invaluable House of Disco website’s label. “Kag” is something of a slow-jam epic, with swirling keys giving way to wah-wah effects, sweet R&B vocal samples and a majestic downtempo groove, complete with a bit of slap-bass funkiness to complete the dream-soul feel. “We Know How to Work It” offers a more housed-up feel, though with its simple but effective chords, robo-disco throb and some filtered sass from Moore in the mix, its as close in feel to Janet Jackson circa 1990 as it is to anything else—and with its massive Jimmy Jam & Terry Lewis–style kick drum, syncopated guitar work and breathy vocals, “The Fire” also conjures up distant memories of those long-ago days. Finally, there’s a reprised version of “When I Hear That Music,” one that strips the song down to its component parts to devastating effect. Sure, Tales From the Night might be a bit backward-looking for some—but a touch of sentimentality for times gone by isn’t all that bad a thing now and then, is it?

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XLR8R Heads to Movement http://www.xlr8r.com/news/2015/05/xlr8r-heads-to-movement/ http://www.xlr8r.com/news/2015/05/xlr8r-heads-to-movement/#comments Sat, 23 May 2015 00:58:22 +0000 http://www.xlr8r.com/?p=91894 Kicking off tomorrow, Detroit's Movement Festival is regarded as one of the best festivals in the United States—and the world for that matter. Fittingly taking place in the birthplace of techno, Movement is one festival on the yearly calendar that you don't want to miss. The festival itself is truly world class, with Detroit's hometown heroes all featured heavily alongside out-of-town heavyweights, but the fun doesn't stop there with the afterparties sometimes overshadowing the main event. To keep you informed, XLR8R will be uprooting the team from LA to station ourselves on the ground in Detroit, gathering content and reporting on the happenings as they ensue.

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Outlook Festival Croatia Announces Boat Parties for 2015 http://www.xlr8r.com/news/2015/05/outlook-festival-croatia-announces-boat-parties-for-2015/ http://www.xlr8r.com/news/2015/05/outlook-festival-croatia-announces-boat-parties-for-2015/#comments Fri, 22 May 2015 23:04:49 +0000 http://www.xlr8r.com/?p=91875 Celebrating its eighth year in September, Outlook Festival has announced its boat parties for 2015. Hosts will include Swamp 81, Just Jam, Renegade Hardware, High Focus, Channel One Sound, Reggae Roast and Norman Jay’s Good Times, with 12 parties per day setting sail across the beautiful Adriatic sea. A huge list of artists are set to perform with highlights including Goldie, Mala, Noisia, Toddla T, Zed Bias, Loefah, dBridge, and Adrian Sherwood.

Outlook is set to take place September 2-6, with the full schedule and complete lineup of boat parties below.

Outlook boat parties 2015 - flyer

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Hardkiss 'Trax from the Hardkiss Vault' http://www.xlr8r.com/mp3/2015/05/hardkiss-trax-from-the-hardkiss-vault/ http://www.xlr8r.com/mp3/2015/05/hardkiss-trax-from-the-hardkiss-vault/#comments Fri, 22 May 2015 21:40:05 +0000 http://www.xlr8r.com/?p=91855 This year, San Francisco electronic music pioneers Scott, Gavin, and Robbie Hardkiss (a.k.a. Hardkiss) are celebrating the 20th anniversary of Hardkiss' seminal album Delusions Of Grandeur. As part of the group's PledgeMusic campaign—which offers The Hardkiss Vault '91-'99, containing over 65 songs and over 7 hours music—Hardkiss will be releasing the album digitally for the first time ever on May 25, with the group also performing the album live for the first time ever at Public Works, San Fran on May 30. In support of the campaign, XLR8R has been offered a mini EP of sorts with three diverse tracks from The Hardkiss Vault '91-'99: the driving acid-steeped "Stationary Tornado-Hawke," the soaring, atmospheric "Daylight (Dreamerdreamsalone)," and "Champagne Beat Boogie (Vocal Mix)," a sun-soaked body mover. This is a perfect introduction to the pioneering act for those uninitiated and a nice digital surprise for the already converted. You can download all three tracks for free below, with much more available over at the PledgeMusic page.

Stationary Tornado-Hawke

Daylight (Dreamerdreamsalone)

Champagne Beat Boogie (Vocal Mix)

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Review: Jealous God Label Night http://www.xlr8r.com/reviews/2015/05/review-jealous-god-label-night/ http://www.xlr8r.com/reviews/2015/05/review-jealous-god-label-night/#comments Fri, 22 May 2015 20:50:06 +0000 http://www.xlr8r.com/?p=91681 Los Angeles on a Friday evening can provide such an amazing variation of discrete musical events to choose from, meaning that dance lovers looking for a late-night techno party don’t have to go very far to find one. This situation is due to the work of many L.A .promoters who are currently banding together to create new alliances, helping to curate events that satisfy even the most discerning of techno enthusiasts—and the techno community in L.A. is reaping the rewards. Spend a night on the dance floors of techno advocates such as Droid Behavior or Mount Analog, and you will quickly see how dedicated the dance music community in L.A . continues to be.

Mount Analog does a couple of things really well, and one of them is carefully craft forward-thinking label nights that mix performances and impressive DJ sets at their Nuit Noire series. Droid Behavior is no stranger to large-scale international techno productions as well, with legendary lineups joining them during their long-running event series, PRIME. Das Bunker also contributes to the techno landscape in L.A., and all three of these promoters teamed up to create a supergroup—this past Friday, May 15, at Lot 613, they presented an incredible evening featuring the L.A. film debut of Industrial Soundtrack To The Urban Decay, DJ sets by Raiz and Rev. John, a live performance by Youth Code, and a Jealous God label lineup featuring Broken English Club, Silent Servant, Terence Fixmer, and James Ruskin.

Raiz

The night started out with a special "history of industrial" DJ set from Raiz, showcasing some of the seminal tracks that took industrial music out of the manufacturing plants and factories and onto the stage. This mix of the familiar and the historic was a great way to get attendees prepared for the screening of the film. Industrial Soundtrack To The Urban Decay is a documentary about the creation of the industrial-music scene, and speaks about the industrial and Dada art movements that surrounded and inspired a new wave of creativity. Directed by Amélie Ravalec and Travis Collins, and starring industrial music stalwarts such as Throbbing Gristle, Cabaret Voltaire, NON and Clock DVA, the film serves as a history lesson on how they created and nurtured the industrial-music revolution. By the time the credits were rolling, we were quickly welcomed by yet another transitional DJ set, this one by Das Bunker’s own Rev. John. Soon after that, the crowd moved back as a large standing metal rack of drum machines and keyboards was quickly wheeled to the front of the dance floor for performance by Youth Code.

Youth Code

Youth Code members Ryan William George and Sara Taylor put on an energetic live show that featured fast post-punk industrial beats, along with screaming vocals from both members. Ryan operated a three-tier hardware rack with a microphone cord wrapped around his neck, while Sara engaged the crowd, getting everyone to move closer while she screamed and climbed speaker stacks with aggressive bliss. After Youth Code finished up with their punishing set, it was time for the Jealous God label members to take over.

Jealous God is run by former Sandwell District members Karl O’Connor (a.k.a. Regis) and Juan Mendez (a.k.a. Silent Servant), along with Blueprint label boss James Ruskin. True to the night, Silent Servant presented a mix of genres and selections that showed his love for all things punk and industrial—Broken English Club, who also goes by his given name of Oliver Ho, then took us on a trip that included droning percussion with live vocals sprinkled over high hats and minimal loops that slow-boiled into drum crashes. While Ho swayed and snapped his one-word vocals, Terence Fixmer set up his hardware for a live performance. With a release coming out on Ostgut Ton on June 8th, and with a plethora of label releases under his belt that includse CLR, Prologue, and Electric Deluxe. Fixmer has built a reputation as a versatile producer and a master of blistering live sets. He built the energy up by adding layer upon layer of drums while slowly introducing new elements that brought the tempo up to a fever pitch, finally handing the controls off to the long awaited Los Angeles debut of  James Ruskin.

Mount Analog

The Blueprint label head has been producing music for over 15 years, and with releases on Tresor, Ostgut Ton, and Coda, Ruskin is the only person to share a release on Surgeon’s label, Dynamic Tension. Within a couple of tracks, Ruskin proceeded to put on a clinic, demonstrating how a Funktion-One sound system can make a crowd who stayed past 3 in the morning turn into a complete frenzy. Aggressive backspins, masterful mixing, and old school pitch shifting tricks were all applied with a renaissance touch reminiscent of Ben Sims with a gentler hand. At one point Ruskin moved from relentless techno into breaks layered over a 4/4 beat, then shifted the entire tempo into half time before closing the circle and bringing the tempo back to it’s original pace. James is never at the mercy of a track, and his mixing style suggests that he can make a song do whatever he wants, whenever he feels the time is ready.

While the venue could certainly scale down on the flashlight wandering security staff on the dance floor, the bartenders and the staff outside create an inviting place where a full scale music production and a film premier can come together and have a cohesive night. The crowd stuck around well past the end of the music to give the promoters and the artists their gratitude and well wishes. All of the promoters and artists involved really put on a special night for the techno community, and that is why those in that community continue to support them passionately.

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Premiere: Stream Eric Cloutier's Raxeira EP in Full http://www.xlr8r.com/news/2015/05/premiere-stream-eric-cloutiers-raxeira-ep-in-full/ http://www.xlr8r.com/news/2015/05/premiere-stream-eric-cloutiers-raxeira-ep-in-full/#comments Fri, 22 May 2015 16:50:19 +0000 http://www.xlr8r.com/?p=91851 American DJ and producer Eric Cloutier built his name off the back of his meticulously crafted DJ sets, holding residencies at some of the best clubs around the world including the highly regarded Bunker New York. Recently beginning to release his own music, Cloutier is amassing a back catalogue as in demand as his DJ sets.

His latest EP, Raxeira, arrived last week as a vinyl only release on Wolfskuil Limited. The three-tracker lands backed by a remix by Italian techno master Donato Dozzy, with the tracks on offer full of the deep and hypnotizing qualities you'd find in their sets. From the dubby and driving "Raxeira," the EP rolls into more trippy territory with "Palimpsest," a low-slung groover with endlessly echoing synth bleeps. On the flip side, Dozzy twists "Raxeira" into a peak-time steamroller, adding a rolling bassline, highly textured layers and scattered percussion.

Raxeira is available now via Wolfskuil Limited, with the full EP streaming exclusively via the player below.

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Listen to a Track From Errorsmith and Mark Fell's Forthcoming Collaborative 12" http://www.xlr8r.com/news/2015/05/listen-to-a-track-from-errorsmith-and-mark-fells-forthcoming-collaborative-12/ http://www.xlr8r.com/news/2015/05/listen-to-a-track-from-errorsmith-and-mark-fells-forthcoming-collaborative-12/#comments Fri, 22 May 2015 13:40:45 +0000 http://www.xlr8r.com/?p=91843 Erik Wiegand (a.k.a. Errorsmith, pictured above) hasn't been heard from under the name since 2004, but Bill Kouligas's PAN imprint has managed to get him to break cover at last on a new 12" for the label. A three-track collaboration with Mark Fell, Protogravity was made last June at Wiegand’s Berlin studio, and apparently "explores different working methods and musical structures, yet results in a cohesive collection of subterranean techno ... with a playfulness that often underlies their solo work."

The EP's first track, simply entitled 01, can be heard on the player below ahead of the EP's full release on PAN on May 25.

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Huntleys + Palmers Readies Second Highlife World Series EP http://www.xlr8r.com/news/2015/05/huntleys-palmers-readies-second-highlife-world-series-ep/ http://www.xlr8r.com/news/2015/05/huntleys-palmers-readies-second-highlife-world-series-ep/#comments Fri, 22 May 2015 12:56:43 +0000 http://www.xlr8r.com/?p=91840 In February we reported on the Huntleys + Palmers sister label Highlife's plans for a trio of EPs named the Highlife World Series. Set up to facilitate the release of collaborative music from label mainstays Brian D'Souza (a.k.a. Auntie Flo) and Esa and local musicians from various parts of the world, the series' first release was entitled Cuba.

The second is now in the pipeline, and finds Esa flying solo to Kenya to collaborate with musicians there. Preview clips of Highlife World Series: Kenya can be streamed on the player below ahead of the EP's full release on Highlife on June 8.

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Premiere: Stream a Track from the Forthcoming Woo York EP http://www.xlr8r.com/news/2015/05/premiere-stream-a-track-from-the-forthcoming-woo-york-ep/ http://www.xlr8r.com/news/2015/05/premiere-stream-a-track-from-the-forthcoming-woo-york-ep/#comments Fri, 22 May 2015 11:49:05 +0000 http://www.xlr8r.com/?p=91833 Prolific Ukrainian house duo Woo York have notched up somewhere north of two-dozen EPs since their debut in 2009, appearing on labels such as Life & Death, Planet Rhythm, and Delta Code. Their latest, entitled Blade Runner, is the fifth outing of their long and fruitful relationship with Glasgow's venerable Soma Quality label, and finds them delving deeper into the raw but densely textured sound that has earned them such renown. Ahead of the EP's full release on Soma Quality on May 25, Blade Runner's hovering, sonar bleep-awash title track can be streamed on the player below, where we have also included the record's full tracklist.


01. Blade Runner
02. Phantom
03. Blade Runner (Zadig Remix)

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XLR8R Weekly Event Selections http://www.xlr8r.com/news/2015/05/xlr8r-weekly-event-selections/ http://www.xlr8r.com/news/2015/05/xlr8r-weekly-event-selections/#comments Fri, 22 May 2015 10:00:01 +0000 http://www.xlr8r.com/?p=91814 XLR8R is heading out to Detroit this weekend where we will be reporting back our experience at Movement Festival as well as the many tasty after-parties. As such, the majority of our picks for this weekend are shamelessly geared towards the many events we look forward to attending.

May 22 Sanctuary One  / Los Angeles, USA
Sanctuary One May 22
The inaugural Sanctuary One party will take place at Hollywood's Golden Box featuring XLR8R podcast alumni Fort Romeau on his first West Coast performance. Check out our recent Q&A with the London based Ghostly International artist.
Facebook Event

May 23 - 24 Movement Festival / Detroit, USA
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The Movement Electronic Music Festival takes place every Memorial Day weekend inside Hart Plaza – Detroit’s legendary riverfront destination, This six stage, techno heavy, three day long festival is a staple for any US based techno lover. This year's edition include acts like Ben Klock, Carl Craig, Fort Romeau, Floorplan, Octave OneRecondite, and many many many more.
Website

May 23 Eden One / Detroit, USA
Eden One
The Detroit based record label Modern Cathedrals take over the Garden Theater for a solid night headlined by Vatican Shadow, and supported by Mira's Covered in Sand, Downwards' Marshstepper, and Northern Electrics Varg.
Facebook Event

May 23 Club Toilet - Queer Movement Afterhours / Detroit, USA
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This highly anticipated event is a collaboration between a few gay scene promoters from around the country including Detroit's Macho City, Pittsburgh's Honcho, and NYC's WRECKED, and will feature performances by for instance Chicago's The Black Madonna, Wrecked's Ryan Smith, Aaron Clark, Jeffrey Sfire, and more.
Facebook Event

May 25 Dirty Epic pres. Anthology - An Official Movement Afterparty  / Detroit, USA
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Dirty Epic brings Anthology to Detroit and promises to live up to the name featuring a showcase from NY's The Bunker that includes a live extended set by Atom & Tobias, Move D and Jonah Sharp live as Reagenz, Tin Man and Gunnar Haslam live as Romans, Derek Plaslaiko b2b Mike Servito and Bunker's own Bryan Kasenic, as well as other interesting acts.
Facebook Event

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Sacred Ground Festival Announces Dates and Location http://www.xlr8r.com/news/2015/05/sacred-ground-festival-announces-dates-and-location/ http://www.xlr8r.com/news/2015/05/sacred-ground-festival-announces-dates-and-location/#comments Fri, 22 May 2015 00:18:34 +0000 http://www.xlr8r.com/?p=91798 Howling's Ry X and Frank Wiedemann will be curating the inaugural Sacred Ground festival taking place near Berlin on July 11.  The open air event will stretch one day and one night and promises an impeccable line-up in a beautiful, intimate setting.

Ry X has outlined the festival's goal and mission in the following Manifest:

“Sacred Ground was born because we wanted to create an intimate space outside of city streets where art and music are the focus alongside of an environment supporting closeness between people. 

Our friends will share their music, we will share music, and more artists we love may come and go from stages and crowds 

The goal is only that we all return home after Sacred Ground full in heart and lungs from the time together."

More information about the lineup and location will be coming available via XLR8R in the next few weeks, and a highly limited number of tickets priced at 45 Euro each are now available here.

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Hear a New DJ Koze Track http://www.xlr8r.com/news/2015/05/hear-a-new-dj-kozes-track/ http://www.xlr8r.com/news/2015/05/hear-a-new-dj-kozes-track/#comments Fri, 22 May 2015 00:17:36 +0000 http://www.xlr8r.com/?p=91807 Following on from the news that Pampa label boss, DJ Koze, would head up the 50th instalment in the esteemed DJ-Kicks series, !K7 Records—the label behind DJ-Kicks—has released a full stream of the exclusive DJ Koze track "I haven't Been Everywhere But It's On My List." Brimming with the eclectic samples and good-time feel that we've come to expect from DJ Koze, "I haven't Been Everywhere But It's On My List" can be heard in full below ahead of the compilation release on June 15.

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XLR8R Presents Exclusive Ticket Deal For Soundwave Croatia http://www.xlr8r.com/news/2015/05/xlr8r-presents-exclusive-ticket-deal-for-soundwave-croatia/ http://www.xlr8r.com/news/2015/05/xlr8r-presents-exclusive-ticket-deal-for-soundwave-croatia/#comments Thu, 21 May 2015 23:14:28 +0000 http://www.xlr8r.com/?p=91779 soundwave_xlr8r

In 2015 Soundwave Croatia, one of Europe’s most friendly and intimate festivals, returns for its 7th year with a live art and film program added to its eclectic musical offering.  Heralded as one of ‘Europe’s Best Music Festivals’ by The Independent, Soundwave is set in a secret cove, Tisno, at the heart of the Dalmatian Coast of Croatia.

Soundwave Croatia this year will feature acts like Jay Electronica and Detroit's Slum Village, Deep Medi boss Mala, drum & bass legend LTJ Bukem, and Maribou State, alongside a host of other ground-breaking acts on the beautiful sun-soaked Croatian coast. 

XLR8R is thrilled to bring readers and festival fans an exclusive 3-for-2 discount on full weekend pass tickets to the festival.
Soundwave will run from August 6 to 10 this year, full lineup and more information can be found on the events page, and you can pick up your three tickets for the price of two by clicking on the image above.

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Berlin Atonal Announces First Round of Artists for 2015 http://www.xlr8r.com/news/2015/05/berlin-atonal-announce-first-round-of-artists/ http://www.xlr8r.com/news/2015/05/berlin-atonal-announce-first-round-of-artists/#comments Thu, 21 May 2015 21:47:40 +0000 http://www.xlr8r.com/?p=91770 Berlin Atonal will return this August for another round of world premiere performances, special projects, audio-visual shows, installations, and aftershow parties.

Taking over the Kraftwerk building, the festival has announced 10 acts including Outside the Dream Syndicate, the legendary collaboration between avant-garde icon Tony Conrad and German krautrock band Faust; SUMS, the joint project between Raster-Noton artist Kangding Ray and post-rock figure Barry Burns (Mogwai); the first full unveiling of Nine Inch Nails member Alessandro Cortini’s live audio-visual project, ‘Sonno’; a rare live performance by Ugandan Methods (Regis + Ancient Methods); and the first ever live A/V show from Mike Parker.

Berlin Atonal will kick off August 19 and run to August 23. For more information, including tickets, head here, and you can check out the full list of names announcement so far below.

Announced Lineup

OUTSIDE THE DREAM SYNDICATE (TONY CONRAD WITH FAUST) 
SUMS: KANGDING RAY + BARRY BURNS (MOGWAI) 
ALESSANDRO CORTINI PRESENTS: SONNO [LIVE A/V] 
DAVID BORDEN + THE MOTHER MALLARD ENSEMBLE 
UGANDAN METHODS (REGIS + ANCIENT METHODS) [LIVE] 
MIKE PARKER [LIVE A/V] 
FIS [LIVE A/V] 
ENA [LIVE A/V] 
CHRA [LIVE] 
RYO MURAKAMI [LIVE]

 

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Check Out a New Short Film on Distal and The Anarchostar http://www.xlr8r.com/news/2015/05/check-out-a-new-short-film-on-distal-and-the-anarchostar/ http://www.xlr8r.com/news/2015/05/check-out-a-new-short-film-on-distal-and-the-anarchostar/#comments Thu, 21 May 2015 19:53:24 +0000 http://www.xlr8r.com/?p=91701 Michael Rathbun (a.k.a. Distal), although still young, has amassed quite the back catalogue including releases on labels such as Tectonic, Grizzly, and Fortified Audio. He also runs Embassy Recordings with fellow Atlantan Mite—who, evidently, shot and cut this short film—and at the end of last year, kicked off the highly conceptual Anarchostar label—to be home to a Space Opera series set 3000 years in the future. Distal's album Retrograde Space Opera inaugurated Anarchostar, with Silkie's latest album, Fractuals, up next in July.

The below short film delves into the mind of the Atlanta-based artist and his thought process surrounding Anarchostar, with Distal also describing his live setup and production processes. The film is a perfect introduction to the visionary artist and label for those unfamiliar, and a deeper look for those who are. You can check out the 10-minute short film in full below.

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Bubblin' Up: David August http://www.xlr8r.com/features/2015/05/bubblin-up-david-august/ http://www.xlr8r.com/features/2015/05/bubblin-up-david-august/#comments Thu, 21 May 2015 18:04:11 +0000 http://www.xlr8r.com/?p=91711 David August is an ambitious young man—at least, that's the only explanation we can find for what the producer has accomplished in such a short time. The Hamburg-born, Berlin-based artist began releasing music in the early days of this millennium—2000's Instant Harmony EP on Diynamic was an early triumph—and since then, his skill at producing deep, heartfelt, at times almost delicate version of house music has shown him to be one clubland's rising forces. (2013's Times album for Diynamic and 2014's Epikur EP on Innervisions are particular XLR8R favorites, and last spring's Boiler Room set was a stunner.) But August, who's managed all this while still enrolled in university, has plans that extend beyond the dancefloor: His latest project, David August & Ensemble, just made its live debut; this weekend sees him playing another live set at the Planetarium Hamburg, of all places; and, in perhaps his boldest move yet, next year will see August performing with the Deutsches Symphonie-Orchester Berlin. Regardless of whether he's aiming for clubs or concert halls, we’d wager that before too long, August will find himself among the very top tier of producers and composers—and that’s where he belongs.

You were only 20 when the Instant Harmony EP came out on Diynamic in 2010, right?
Yeah, I was. I actually had done something before that, for Oliver Koletzki [from the Stil Vor Talent label]. I think I was 18 when I made that one. But the Instant Harmony seemed like my first breakthrough EP.

So you started very young, really. Were you raised with music?
Yeah, I always had music in my childhood. My father plays piano, and he and my mom gave me my introduction—in the beginning, only classical music. But it was always present.

Was there a moment when you discovered club music, or was your entry into that world a gradual process?
I think the first dance record I heard was Armand van Helden, some old record from him, but I wasn’t really aware of what it was all about. But around 2005 or 2006, I had this friend who was DJing at a club, and he somehow had already been introduced to techno and minimal. House came a little bit later. But I was discovering this new road, and I slowly got more and more behind it.

It couldn’t have been that slowly—it wasn’t so much later that you started producing, and now you’ve been putting out music for over five years.
Yeah, time definitely runs. [laughs] But to be honest, to me it seems I’ve been doing this for ages. My older colleagues always say, “What the hell—I’ve been doing this for 20 years now. You’re kidding me.” I don’t know—I haven’t been on the scene for 20 years, but it still seems like a long time to me. And I did start DJing a little bit when I was 16 or 17, so if you add that in, it has been a while. But it wasn’t until maybe a little before that first Diynamic release and my first international gigs that I started to get professional about it. You just get consumed so much by doing this, which may be why it seems to me that I’ve been involved for so long.

I’m a little bit slow on the uptake, but for me, it was your remix of Andre Crom’s 2012 release “Tell Me” on Freerange that really got me to take notice of you. From your point of view, was there any specific release or moment that made you realize you were heading in the right direction with your music?
Hmm…good question! I think a lot about my development and change. The music that I’m doing is quite different from track to track—at least, that’s what people tell me, because it’s hard for me to be objective about my music. I can’t always hear the differences, and for me, I don’t know what I’m searching for in my music—and whatever it is, I don’t think I’m there yet. I don’t think you ever get there, really.

When you listen to your music after its released, can you notice your musical progression?
Yes, but it’s difficult. The music that’s released is never up to date with what you are doing right now; music that your making now might not come out till the next year. And you make a lot of music that’s never released, or you make something that has nothing to do with dance music or anything else you’ve done. So it’s always difficult to always understand the state of mind of a producer or musician by the music that’s out at any given moment. But getting back to the question, I think one thing that has happened in the last years is a kind of maturity. I think that’s because I’ve started to listen to more music—to different music—and have gotten a lot of influences through that. I’ve discovered a lot of music very recently, actually, music that other people have known for a lot time.

Can you give an example?
There’s so many—but, for example, Aphex Twin. I was aware of him, but I didn’t really listen to a lot of his tracks until maybe two and a half years ago. Once I started listening I was like, shit—this guy is a legend! I had never really considered him before because I was so focused on my own stuff, and with the stuff I already knew. But I had come to the realization that I really needed to know more, and doing that has led my production in different directions, like doing more experimental stuff, most of which is not out there yet. But, for example, I just did a remix which lasts 20 minutes, and which has maybe 20 seconds of kick drum—the rest is just soundscaping. It’s a trip, and I never would have thought of doing something like that ten years ago. Influences came; development came; maturity came.

I suspect that’s a never-ending process.
Definitely. I think it’s the same for everyone.

You've given up deejaying to concentrate on live sets.  What’s your general set-up?
It’s pretty much the same all the time. I’ll have some keys in front of me, a couple of controllers—and Ableton Live, of course. What’s changed is the way I play. At first I think I was playing it safe a little bit; I don’t think I had the balls to experiment very much. That’s not because I was an artist coming from nowhere, like, “Who’s that guy playing live?”—people who would come to see me had their expectations, from having heard me in a club or festival. But just that I had changed the whole way that you perform music while building a career…it really could have gone wrong. And if it didn’t work out, things would have been working out very differently now. So I was a little bit nervous, but now I’m much more confident.

You’re still going to school while all this is happening.
Yeah, it’s not over yet—it’s five years of study.

And you are studying music?
It's called Tonmeister. It's a musical and technical study, a mix of things like sound engineering with musical studies, composition and so on.

Do you feel your university life and professional life inform each other very much?
Of course, they do go hand in hand. The study has definitely improved myself and my music, and it goes the other way around as well. But as far as working in the studio, I think most of it came to me by simply trying things out. I don’t want to deny that knowledge isn’t useful—but having experience with practical things is important, too. There are student who have a perfect theoretical overview, but haven’t done enough with it for it to be of much use. Things like using a compressor or equalizer in your DAW, for example—if you’ve already been doing it for three years, you’ll know where to search for a frequency.

It’s hard to figure out how you even have time for school—you seem to be in the middle of a very busy period right now. There’s David August & Ensemble, for example.
We just played in Berlin two weeks ago, and we hope to keep doing it. There are two reasons for calling this project David August & Ensemble. The first was that if you create a completely new project with a completely new name…you’d have to write new music. [laughs] And I don’t really have the time at the moment. So with this project, we can perform my existing music with my ideas, but with more of a live character, with more musicians and more dimensions.

david augustAnd the other reason?
The other one was simply that just calling it an ensemble meant there was no fixed amount of how many musicians I would need. It can be two people or it can be four people; it can include a clarinetist or it can include a saxophone player. I wanted to keep it flexible. In Berlin, I had a drummer, a harp player and a guy playing guitar, and we basically played variations of tracks that I had made—a mixture between unused material and tracks of mine that people might recognize, but with a totally different sound.

What do you get out of playing with an ensemble that you don’t get from playing solo?
I really enjoy the whole thing—doing a sound check, being onstage, and people there to really listen. It also takes away the pressure of having to make people dance. Musically, I do often feel that pressure, of having to make people more—and if they don’t move, you’ve had a bad night. But with the concept, it starts at 10:30pm or whenever, the people just listen and get an impression of the music, and you don’t have to think about dancing. And it’s just so much fun to do.

And you’re about to do something at the Hamburg Planetarium. as well?
Yeah, we have four shows coming up this weekend—it’s a quite famous place in Hamburg. It’s going to be myself and a guitarist, and doing something like this in this venue is very exciting. The audience will be getting this whole visual show while we’re playing the music.

And then on top of that, you’re going to be playing with the Deutsches Symphonie-Orchester Berlin next year?
Yeah…and I still need to write the music for that. [laughs] It’s an amazing project, and I feel quite honored to be a part of that. I got an e-mail from this guy who has been working with orchestras over the past couple of years; he came to me after listening to my Boiler Room set and listening to the Innervisions release from last year. He basically just asked me if I would like to perform with an orchestra—and of course, when you get such a request, it sounds amazing but you don’t know what’s behind the request. It could just be some guy talking bullshit, you know? Like, David, do you want to fly to the moon? But we talked, and we got to know each other better—and now there is a date in February of next year. The guy—his name is Frieder Nagel—will be performing with the orchestra for the first 45 minutes, and then I perform with the orchestra for the next 45 minutes. Having the opportunity to this kind of intense moment is exciting.

I would imagine so. And you have a label on the way, too?
That’s been on my mind for quite some time. But saying you’re going to do a label is one thing—it’s not that easy to actually do it, at least not in a good way. I had wanted to start it this year—and I still want to do it this year—but there are a few issues to work out. There’s a lot of work to be organized, but it will happen. The day needs more hours, though.

You obviously enjoy being busy, though. Do you have an ultimate goal in mind? Can you envision where you will be in, say, ten years?
I don’t really think about where I want to be. I just always try to be better. I need to do music; I need to be creative; I need to communicate in this was, in this language. I really feel a need to express myself, and I always want to express myself better. That’s where my energy comes from. That’s my motivation.

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DAVEM "Some Day in the Dark Side" http://www.xlr8r.com/mp3/2015/05/davem-some-day-in-the-dark-side/ http://www.xlr8r.com/mp3/2015/05/davem-some-day-in-the-dark-side/#comments Thu, 21 May 2015 15:29:58 +0000 http://www.xlr8r.com/?p=91694 Earlier this week, Italian painter and electronic music producer DAVEM released his album My Grand Rose Is An Angel—which was dedicated to his deceased Grandmother, "Rose." The album is made up of sound collages of recordings of her speaking and singing, and of samples taken from artists during the prestigious Torino Jazz Fringe festival in Italy. It's a deep and engrossing listen, with an experimental free-jazz feel, loose percussion and buried layers of field recordings to dig through. A bonus cut not on the album, "Some Day in the Dark Side" is a dark excursion through those field recordings; deep bass growls underpin haunting chords and vocals, with live percussion fluttering up top. The full album is available now via Goodvibe Records and can be purchased here, with "Some Day in the Dark Side" available below.

Some Day in the Dark Side

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Nicolas Jaar, Jeff Mills, Holly Herndon, and More Billed for Club to Club 2015 http://www.xlr8r.com/news/2015/05/nicolas-jaar-jeff-mills-holly-herndon-and-more-billed-for-club-to-club-2015/ http://www.xlr8r.com/news/2015/05/nicolas-jaar-jeff-mills-holly-herndon-and-more-billed-for-club-to-club-2015/#comments Thu, 21 May 2015 13:27:46 +0000 http://www.xlr8r.com/?p=91739 Turin's Club to Club Festival, which XLR8R named Italy's best festival in 2014, has divulged the first wave of acts set to appear at this year's 15th edition. Taking place from November 4 through 8, the event will be headlined by Nicolas Jaar, Detroit techno icon Jeff Mills, new industrialists Carter Tutti Void, Syrian vocalist Omar Souleyman, and digital experimentalist Holly Herndon. Also billed are Jamie xx, Shackleton, Battles, Mumdance + Novelist feat. The Square, SOPHIE (plus his QT project), Apparat, and local favorite Vaghe Stelle.

The festival runs concurrently with Torino's Contemporary Art Week and takes place at various venues throughout the city. A number of preview parties are also in the works for Milan, Istanbul, London, and Rome. For more complete info on line-up and ticketing, head here. (via Resident Advisor)

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Preview Damon Bell's Debut Album on Deepblak http://www.xlr8r.com/news/2015/05/preview-damon-bells-debut-album-on-deepblak/ http://www.xlr8r.com/news/2015/05/preview-damon-bells-debut-album-on-deepblak/#comments Thu, 21 May 2015 11:09:27 +0000 http://www.xlr8r.com/?p=91733 Deepblak mainstay Damon Bell has revealed details of a forthcoming debut long-player on Aybee's label, which is due for release at the end of next month. On Blues for the Libyan, the Oakland, California-based producer is said to mix tradition and experimentation, varied African polyrhythms and future-dancefloor funk. Labelmate and recent PAN signee Afrikan Sciences lends his talents to LP cut "Lybian Ether," and vocalist Khalil Anthony features on opener "Chromosome Replacement."

B​lues for the Libyan follows from a string of similar-spirited EPs on Deepblak, Do Over, and Sound of Speed, and will see an official release on June 29. Until then, album clips can be streamed below, where we've also included a complete tracklist.

A1 Chromosome Replacement ft. Khalil Anthony
A2 Concrete Caravan
B1 Blood
B2 Striving To Be Who We Are
C1 Rhythm Meat ft Afrikan Sciences
C2 Libyan Ether ft. Son of Ororo
D1 Broken Feathers
D2 Kampala

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Premiere: Hear A Track From Catz ‘N Dogz Latest EP, Killing With Kindness http://www.xlr8r.com/news/2015/05/premiere-hear-a-track-from-catz-n-dogz-latest-ep-killing-with-kindness/ http://www.xlr8r.com/news/2015/05/premiere-hear-a-track-from-catz-n-dogz-latest-ep-killing-with-kindness/#comments Thu, 21 May 2015 09:47:37 +0000 http://www.xlr8r.com/?p=91722 Following on from their recently released From Your Heart, Polish duo Catz ‘N Dogz return with Killing With Kindness, their latest EP that consists of five tracks: two from their forthcoming Basic Colour Theory LP and three stand alone productions.

Each of the five tracks deliver the alluring and joyful electronic sound that the duo have made their own, not just in their studio work but also in their live performances.

The instantly recognisable Catz ‘N Dogz bassline is ever present throughout each track, highlighted particularly through "Killing With Kindness" featuring Detroit born rapper Phat Kat. Included also is the darker, duskier collaboration with Chicago’s Green Velvet for "Keep On," and "I Can Do Anything," which is set to be another big room dance track.

Killing With Kindness will be released on May 22 via Pets Recordings, with "Killing With Kindness (Club Mix)" streaming in full via the player below.

Tracklist:

1. Killing With Kindness ft. Phat Kat
2. Keep On Ft. Green Velvet
3. I Can Do Anything
4. Killing With Kindness (Club Mix)
5. I Can Do Anything (Instrumental Mix) - Beatport Exclusive

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Vaghe Stelle Arrives on Other People, Streams Lead Single http://www.xlr8r.com/news/2015/05/vaghe-stelle-arrives-on-other-people-streams-lead-single/ http://www.xlr8r.com/news/2015/05/vaghe-stelle-arrives-on-other-people-streams-lead-single/#comments Thu, 21 May 2015 08:57:32 +0000 http://www.xlr8r.com/?p=91720 Turin's Vaghe Stelle (a.k.a Daniele Mana) will debut on Nicolas Jaar's Other People imprint this summer with a seven-track mini-LP. Mana is an affiliate of the Gang of Ducks collective and currently serves as one-third of production unit One Circle with Lorenzo Senni and A:RA. On his upcoming Abstract Speed + Sound LP (which takes its name from Giacomo Balla's early-1900s work), his melding of Italian film samples and synthwork is said to connect digital networks with the Italian Futurist Movement. "Just as Italian Futurists obsessed over the innovations of the automobile industry, Daniele is fixated on the digital networks that connect the art and culture of the modern age," a press release states.

Abstract Speed + Sound is out on July 6, and until then, lead single "Multiple Concentric Hexagons" can be streamed below.

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Premiere: Stream A Track From Stephan Bodzin's Upcoming EP, Singularity http://www.xlr8r.com/news/2015/05/premiere-stream-a-track-from-stephan-bodzins-upcoming-ep-singularity/ http://www.xlr8r.com/news/2015/05/premiere-stream-a-track-from-stephan-bodzins-upcoming-ep-singularity/#comments Wed, 20 May 2015 23:43:40 +0000 http://www.xlr8r.com/?p=91690 German techno producer/DJ/live artist Stephan Bodzin is set to release his latest EP at the end of the month.

Entitled Singularity after its leading track, a beautifully melodic production that creates an entire world of its own and asks you to inhabit it for a while, losing yourself in the process, the three-track EP is completed by two blissfully captivating "Singularity" edits by German DJ/Producer Monoloc (a.k.a "Sascha Borchardt").

Singularity will be released via Life and Death on May 25, with "Singularity (Monoloc Edit 01)" streaming in full via the player below.

Tracklist:

Digital:
1. Singularity
2. Singularity (Monoloc Edit 02)

Vinyl:
A1. Singularity
B1. Singularity (Monoloc Edit 01)

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Stream a Track From Antigone's Latest EP for Token http://www.xlr8r.com/news/2015/05/premiere-stream-a-track-from-antigones-latest-ep-for-token/ http://www.xlr8r.com/news/2015/05/premiere-stream-a-track-from-antigones-latest-ep-for-token/#comments Wed, 20 May 2015 20:20:31 +0000 http://www.xlr8r.com/?p=91452 At the start of the week, Kr!z’s Token Records released Cantor Dust, the latest EP from Parisian producer Antonin Jeanson (a.k.a. Antigone). The EP is Jeanson's inaugural release for the Belgian label, following on from ø [Phase]'s Tunnel Vision/Internal Conflict 12”.

Cantor Dust explores Jeanson's penchant for unusual sounds, mixing abstract elements with more functional club-ready beats. The release opens with a spacial and ambient piece, before rolling into the producer's dance-floor focused techno cuts. The anthemic "Prime Mover" fuses a heavy low end with driving percussion, icy pads, reverberant synth stabs, and dense, evolving atmospheres, using tension and release to great effect. You can stream "Prime Mover" in full below, with the full EP available for purchase here.

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