XLR8R http://www.xlr8r.com Accelerating music & culture Mon, 25 May 2015 08:40:53 +0000 en-US hourly 1 http://wordpress.org/?v=4.0 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  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. The situation is due to the work of the 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 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 in 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 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, as well as talent scouting for the highly regarded Bunker New York and his own label TANSTAAFL—which he runs with John Osborn and October. 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, born David Nattkemper, 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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Watch the Hallucinogenic New Video for Rone's "Acid Reflux" http://www.xlr8r.com/news/2015/05/watch-the-hallucinogenic-new-video-for-rones-acid-reflux/ http://www.xlr8r.com/news/2015/05/watch-the-hallucinogenic-new-video-for-rones-acid-reflux/#comments Wed, 20 May 2015 19:05:28 +0000 http://www.xlr8r.com/?p=91642 Rone's latest album, Creatures, was released via Infiné in February of this year to great acclaim. Now, album cut "Acid Reflux" gets a hallucinogenic new video, directed by Ilan Cohen and Boris Levy. Part live action, part animation, "Acid Reflux" is an immersive journey centred around an LSD-like trip caused by bad 7-11 sushi. The video focuses on "the anxiety associated with a solo journey on a higher plane of consciousness with total loss of reality and no idea where the exit is." You can check out the full video below, along with Rone's upcoming US tour dates.

Tour dates:

MAY
23 - Chicago - Primary Night Club
24 - Detroit - Movement Festival
26 - Philadelphia - The Dolphin
27 - Washington DC - U Street
28 - Boston - Middlesex Night Club
29 - Brooklyn - Good Room
30 - Montreal - Theatre Fairmount
JUNE
2 - Toronto - Wrong Bar
4 - LA - Los Globos
5 - San Francisco - Rickshaw Stop
6 - Seattle - The Crocodile
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Premiere: Hear Two Tracks From Livio & Roby's Latest EP, Here and There http://www.xlr8r.com/news/2015/05/premiere-hear-two-tracks-from-livio-robys-latest-ep-here-and-there/ http://www.xlr8r.com/news/2015/05/premiere-hear-two-tracks-from-livio-robys-latest-ep-here-and-there/#comments Wed, 20 May 2015 17:04:21 +0000 http://www.xlr8r.com/?p=91650 Barcelona-based outfit Drumma Records will celebrate 4 years in business with the latest EP from Bucharest duo Livio & Roby, due out in June. The four-track Here and There EP finds the Romanian pair on a roll, with their hardware-based collaboration with George G, Premiesku, garnering quite a lot of attention of late.

"Bis Aid" kicks off the EP with a tight and groovy low-end, rolling metalic synths, and sharp percussion, with a highly detailed, polyrhythmic feel to it. The track chugs along building tension before "Here and There" drops with its thumping kick and rubbery bassline. From there, the minimalistic "Sambata" rolls out faint piano chirps and subtle, chopped vocals atop a highly swung rhythm. "Tul Astia" rounds things out with a machine-gun-like conga roll, skittering percussion clicks, and barely there chords.

Here and There will be released on June 20 via Drumma Records, with "Bis Aid" and "Sambata" streaming in full via the player below.

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Parra for Cuva "Champa (Kate Simko Remix)" http://www.xlr8r.com/mp3/2015/05/parra-for-cuva-champa-kate-simko-remix/ http://www.xlr8r.com/mp3/2015/05/parra-for-cuva-champa-kate-simko-remix/#comments Wed, 20 May 2015 16:00:58 +0000 http://www.xlr8r.com/?p=91645 Berlin based label Lenient Tales released Parra for Cuva's Champa Remix EP at the start of the month. Joining the original cut—which is a single from the German artist's latest LP, Marjouré—will be reworks from Aparde, Trashlagoon, and the one in question here from London-based composer and electronic music producer Kate Simko. A softer affair in its original form, Simko fuses "Champa" with club-ready beats without losing the beautifully intricate feel of the original; floaty pads slide on top of delicate melodies, complimented by the ethereal vocals from Moonsiren. Simko also has an album on the way with frequent collaborator Tevo Howard, titled PolyRhythmic—which is due out in September. You can purchase the full Champa Remix EP here, with Simko's stellar remix available below.

Champa (Kate Simko Remix)

 

 

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Heathered Pearls Readies New Album For Ghostly International http://www.xlr8r.com/news/2015/05/heathered-pearls-readies-new-album-for-ghostly-international/ http://www.xlr8r.com/news/2015/05/heathered-pearls-readies-new-album-for-ghostly-international/#comments Wed, 20 May 2015 15:22:55 +0000 http://www.xlr8r.com/?p=91654 Polish-born Brooklyn-based artist Jakub Alexander (a.k.a. Heathered Pearls) will release his latest LP, Body Complex, in August via Ghostly International. The LP will follow on from Alexander's beatless debut album, Loyal, with 10 tracks that lean towards the dancefloor.

Body Complex is said to be inspired by Alexander's youth spent travelling home from Detroit afterhours with artists Terrence Dixon and Lawrence soundtracking the ride. "I respect [Terrence Dixon and Lawrence] because they can ride the same thin lines of what I love: electronic music that is heavily repetitive, melodic, and deep," the artist says. "They both can find this elegance in techno beyond the dark warehouse." The album will also feature fellow Ghostly artist Shigeto, Outerbridge, and The Sight Below—who also mixed and mastered the album.

Ghostly will release Body Complex on August 7, with the full tracklisting below; along with a stream of lead track "Interior Architecture Software."

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Q&A: Audiofly http://www.xlr8r.com/features/2015/05/qa-audiofly/ http://www.xlr8r.com/features/2015/05/qa-audiofly/#comments Wed, 20 May 2015 12:00:31 +0000 http://www.xlr8r.com/?p=91609 “We’re slow burners,” says Anthony Middleton, the British half of musical duo, Audiofly. Together with Luca Saporito, the Italian member of the pair, Middleton has been DJing and producing a exquisite style of deeply melodic techno for well over a decade. But while many of their modern-day contemporaries have found immediate acclaim with just a small number of releases, Audiofly’s progress has been far more gradual, founded upon a deep-rooted common wish to carve out their own unique identity in an already saturated market, by remaining true their sound and retaining their creative integrity as artists. Through a continual process of fine-tuning their individual skills, carefully calibrating their objectives, and searching far and wide for inspirations and ideas to incorporate into their growing catalog of beautiful musical works, Audiofly have steadily risen to become both a highly-demanded and wonderfully unique unit.

Outside of their DJ and production work, Middleton and Saporito also head up Supernature, the respected musical imprint they founded in 2007 that's served as a launch pad for artists such as Ali Nasser, Alex Niggeman, Bearweasel, Amelie and Boris Horel. Their work with Supernature meshes with that of their other label, Maison DEtre, an imprint which satisfies the pair’s diverse creative cravings and exists as a vehicle for releasing the undiscovered music for which the pair share a common love. The final piece of the Audiofly jigsaw is Flying Circus, the global party-brand that's established in more than 30 different countries. It’s fair to say the boys have got their hands full. In the anticipation of their almost-here date at Detroit's Movement, XLR8R caught up with  Middleton and Saporito to discuss their everlasting motivations to continually create, the key factors behind their success and their plans to follow up their wonderful debut album from 2011, Follow My Liebe.

It’s fair to say that Audiofly has been a big success since its inception in 2002. Did you ever ensvision this?
Middleton: We’ve always been very focused on the musical aspect of what we do, but we have never really envisaged where we were going to be. However, as your career goes on, I think it becomes more important to be grounded and aware of what you’re trying to achieve—you can’t just keep on floating along in this game anymore, and you definitely do have to play the system a little bit, otherwise you will disappear into this mass of people trying to come through. In essence, though, we have always been doing it for the journey.
Saporito: When we actually started, we certainly didn’t have a long term plan. Anthony was coming from Spain and we happened to meet out of chance. I was just a kid at the time and I was lucky enough to meet Anthony who was already producing and working with other musicians. I was very excitable at the time, and for the first year or so there were absolutely no expectations; we just decided to get together in the studio and have fun. I still had a day job and used all my free time to work with Anthony. But slowly it just started to work.
Middleton: There was certainly a point where we sat down together and asked ourselves whether we were going to take this seriously. Was it a career? In order to make it into a career, Luca has to stop his day job and I had to dedicate all of my energy to Luca and the Audiofly project.

"Almost like magnets, we’ve subconsciously tried to repel from whatever music is current at the time."

Looking back now, besides the obvious hard work and dedication, what do you put your success down to?
Middleton:
I definitely think we came through at a time when it was easier to be noticed because, although there were a lot of DJs, there weren’t too many producers—and there certainly weren’t many duos. I think that people today go into the game with a lot more planning and strategy.
Saporito: Ever since the very beginning, we’ve had a very signature sound. Even though people perhaps didn’t know who Audiofly were, our sound was always very different to what was being produced at the time. We started at a time of West Coast house and super-underground techno, so we already had a niche for ourselves without even being aware of it. And we certainly didn’t intend for that; we just went in the studio and that’s the sound we made.
Middleton: The only strategy we ever had was that, musically, we didn’t want to feel that we were either copying other artists or being copied. It’s very important we have integrity in our sound and, almost like magnets, we’ve subconsciously tried to repel from whatever music is current at the time.

Do you ever feel that this niche sound held you back because people perhaps couldn’t identify with Audiofly?
Saporito:
Certainly. Although the niche worked in our favor, it is a double-edged sword. It gives you an identity but it can hinder your growth because people can't put a finger on your sound. People were always wondering what Audiofly was, and what kind of music we wrote because we were difficult to place as DJs and producers.
Middleton: We definitely chose the long road, but it fortunately worked. I feel that people are really starting to get it and we are being recognized for what it is.

Where was it that you guys met, and how did Audiofly come about?
Saporito: 
We met in a bar in East London through a common Italian friend of ours. I was 22-years-old and excitable, wearing silly clothes and red glasses, while Anthony was a super quiet studio boy. It was very ying and yang. I do think this diversity has had an influence in our success by helping us to create something unique

And where did the name originate from?
Middleton:
It’s just one of those classic things where we had written a track and there was suddenly a pressure for us to have a name for the first release. We spent weeks thinking about it and then I said I liked the catchiness of the word "Superfly." We spent five minutes sitting there staring into space and then both thought of Audiofly. It sounds like you know it, even though you haven’t heard of it, and it just rang all the right bells.

Luca, tell me about your background before Audiofly.
Saporito:
I was working as a sale assistant at Selfridges and then the manager asked me if I wanted to play some music for the store. At the time, I wasn’t a DJ so I absolutely blagged it! I remember that night I went to a friend’s house to start mixing music on his decks, and the day after I had to perform in the Selfridges store. I didn’t have a fucking idea what I was doing. The only time when two tracks mixed in well together was when the manager walked by and he gave me the job.
Although that seems like a long time ago, these experiences were very important in my formative years, because I had to play eight hours in the store and had to go through so many different styles of music. It gave me a great musical education, more so than just playing in clubs, because I had to start off really chilled and then move to more jazzy and funky stuff. Finally I could play some dance music in the afternoon, which gave me a very wide musical education that I wouldn’t have had if I had learned playing only in clubs.

And Anthony, what’s your story?
Middleton:
I've been a DJ since 1992, but I went off to Marbella most summers. At some point my Dad told me that I should begin studyngi, and they had just opened a new higher-education system in Manchester that didn't require applicants to have physics or mathematics to get into the Music Technology course. I enrolled but went away to Spain in the summers before coming back to the UK to take music seriously. I was fortunate enough to be mentored along the way by a producer/engineer called Merv De Peyer. He was an excellent producer, one of the best, although never one of those star producers of the old-school. I spent a good couple of years learning from him. Funnily enough, at some point we wanted to showcase an experimental live meets surround sound system project and visuals that Merv had invented, and I had been lucky enough to be working with him on, and though the nuts and bolts of the show were covered, there was no budget left for interim music  and entertainment. That’s actually part of how Luca and I met; he popped up and offered to DJ for us for free between the acts.

At what point did you both begin working full-time on the Audiofly project?
Middleton:
I wasn’t working because I had been put out with a genetic back disorder about two years before meeting Luca. I was almost unable to move, I was on the dole and was completely unsure of where I was going to go. Luca was working extremely hard in his job and that’s why the output was so low at the beginning.
Saporito: Due to budget cuts at Selfridges, they didn’t want to pay me the salary that I thought i deserved, so I decided to quit it and just take Audiofly seriously. It was around the time of "Release Yourself" [2005] when we started working Shaun Parkes. That record was being produced at the time a left my job and I think you can hear the difference. Before this time, we would start a track together but Anthony would finish it because I didn’t have the time to spend in the studio. "Release Yourself" was the first track we actually produced together in its entirety.

And you feel this really helped with the growth of the project?
Saporito:
Yes. Within six months we saw the benefits because we were in the studio every day putting our stamp on the scene. Although there very long periods where we ate a lot of the same food -mostly pasta and tomato sauce, the cheap kind as it’s all we could afford then. The past experiences that Anthony had prior to meeting me have certainly been pivotal in our success. His experiences in the studio gave him an understanding of how to work not just with dance music but also with numerous different styles. That was something that gave us a different kind of edge - something that makes us a little bit unique.
Middleton: Before the point when Luca quit his work, Audiofly just didn’t feel concrete. It was like when you start collaborating with people: we had the Audiofly name,but until you start spending serious time in the studio together it doesn’t become coherent.

Going back to "Release Yourself," do you identify that as a key turning point in your careery?
Middleton:
As Luca mentioned, it was the first moment we really started working closely together, but working with Shaun [Parkes] was also amazing because he such an good lyricist. We got a lot of kudos from the release because it was the one that popped for us.
Saporito: It was certainly the track that was being played out the most, but if I had to pinpoint a turning point in our careers, it was "1999."  That was the track that really put us on the map, I feel.
Middleton: We don’t really feel attached obsessively to our musical output because it’s just a continual process of putting out music that feels right.

Do you feel that your varying backgrounds in music have influenced Audiofly’s success today?
Saporito:
Without doubt. The past experiences that Anthony had have been pivotal in our success. His experiences in the studio gave him an understanding of how to work not just with dance music but also with numerous different styles. That was something that gave us a different kind of edge - something that makes us a little bit unique.
Middleton: Absolutely. Merv [De Peyer] was very jazz-orientated, and had lots of knowledge of rock too, which influenced me. Also, when I first came back to the U.K .from Spain, I had a good friend who was studying up in Manchester. We did some cool ambient drum & bass projects together, and although we never released anything, I learned so many important production values from the experience.

Was there a specific point that you can recall where you realised that the Audiofly project was going to be a success?
Middleton:
Due to his work commitments, there were times when Luca wasn’t turning up at the studio and, at one point, I just pulled him aside and asked him what he wanted to do with his life—and how far he wanted the Audiofly project to go. That was the first time we started to take it seriously, but we probably didn’t realize it was going to be a success until far later.
Saporito: When I quit my job, I remember we started playing loads of gigs around London. Even though the music was being spread internationally, we were still only local DJs. At the time it was a nightmare to get paid for a job and, at some point, we knew we had to decide whether we were content with being an undervalued local DJ or whether we should stop the local gigs and try to create a different perception of ourselves. So that’s what we did: We tightened the belt and went back to the tomato and pasta sauce.
The first point we felt like our careers were going somewhere was when Sasha approached us. For the first time we were traveling around outside of England, being able to support ourselves inside the studio while playing gigs all over the place. We were not even marketing ourselves; our reputation was growing from only the music we were playing and the music we produced. We quickly began to take the project a lot more seriously and realized we needed a plan.
Middleton: I feel like we played for other people for a while, and these were important times for us because we saw bigger artists than us doing it properly. We had come from doing after-parties, but then when Flying Circus began to take off and we had our own successful event, we realized that we had to take another step up and be as good as the artists we wanted to play with, who were our friends but were bigger than us. This was a big period of growth for Audiofly. Musically speaking, however, I think we have come into our own ever since the first album. Before that, we had written a lot of stuff.

You must feel extremely proud of what you’ve achieved, more so because it’s taken you so long to get the acclaim you have today. Do you feel the struggles you’ve been through make the experience now more rewarding?
Middleton:
Very much so. We have a resistance to following trends so we would never have risen to the top of the game with just one massive release. Our desire to be unique and craft our own niche has held us back and slowed our progress down, but I feel it is worth it now.
Saporito: Also, we’ve never been attached to a crew. Lots of new artists come up because they play with Cocoon or Hot Natured, for example, but we never had the desire to be attached to a crew that we didn’t make ourselves. Because of this, and because we have never been touring with an already established brand, it has certainly taken more time for us.

Do you envisage yourselves primarily as producers or DJs?
Middleton:
It’s both, to be honest. At some point along the way when we began touring, we realized we weren’t spending enough time in the studio, and there were times when we have spent too much time in the studio that we have lost a valuable connection with the DJ side of our work. Today, we know that’s it’s just about trying to fit all that we can into the schedule. I think that I will always be a studio boy and that Luca will always be a DJ—but they’re both equally important to us and we cannot actually function without producing music that makes us happy in our souls, and then making these sounds fit into the DJ sets that we’re playing.
Saporito: One feeds off the other. We wouldn’t be the producers we are today without our experiences of DJing around the world. There has been a few gigs in our career which have influenced us in various ways, and we bring back these influences to the studio, which changes our sound slightly.

140725_Audiofly_289-Edit-2

There has been a feeling of late than your sound has mutated a little bit as a result of playing in Romania. It's a bit more more techy and minimal, yet still deep and lush. Is this something you’d agree with and are aware of?
Middleton
: The Romanians give you the opportunity to play for a long time. They pay attention to you; they are not expecting you to deliver to them an enormous track immediately, and they will sit with you for hours, patiently waiting for you to reveal the picture you are trying to paint. We became very attached to that, and obviously the Romanian sound is very loopy and organic. It’s very percussive and allows you to mix very deeply, allowing you to go places with mixing. It’s the perfect place for us to be as a starting point for our DJing. We are constantly trying to reinsert the Audiofly essence into the sets without having to drop the big tracks straight away, and that’s had a big influence on us.
Saporito: Playing in Romania has certainly taught us patience. We have learned to build the story as opposed to laying it all out in just a few hours.
Middleton: It was very much a natural evolution, based only on those guys in Romania giving us the space to create for the first time.

And does this evolution feed very naturally into your production too?
Middleton:
We’ve always being very journey-esque in our sound; we have always been trying to tell a story from one side of the track to the other, and we found it difficult to reinterpret that into our DJ sets until rather recently.
Saporito: Playing places where you are allowed more time to tell your story as a DJ has definitely influenced our studio work. That’s why our tracks have gradually become longer and longer in recent times. We are influenced by the longer DJ sets.

Traveling as much as you guys do now, can it become frustrating when you can’t produce when you have these inspirations you find on the road?
Middleton:
We only stumbled across the formula rather recently, actually. We’ve never been good at working with something like Ableton. Instead, we have always worked with Logic which is a very studio-based way of working because it requires patience and complete isolation. Ableton is a lot faster and, although we were against it when it first came about, we have started working with it when we are on the road. It allows us to have fun with music away from the studio, knocking out basic sketches for our tracks. Just recently, we have also started to schedule production blocks, during which we will take time away from DJing to focus solely on production. We can work on the sketches we have made on the road, plugging them into Logic to develop them further.
Saporito: Before, we were always constrained to our studio, and our productions suffered because it took us some time to find our groove when we returned. It’s different now because we are constantly doing loops when we are on the road, and we can either complete this back home in the studio or in a studio on the road. This way, we don’t lose have to start from zero every time we head back into the studio.

After 10 years in the game, producing and DJing together, is it ever hard to find the motivation and inspiration?
Saporito:
You live and learn all the time. It’s a continuous learning curve and I think this makes exciting. We’re continually motivated because we’re always searching for something, or trying to find a way to improve our work. We’re always learning from each other and this drives us to carry on.
Middleton: None of us are getting any younger and it’s extremely hard work that takes a lot out of us as people, but the music around us is so good that we absolutely thrive. As long the music remains inspiring, and our collaborative relationship remains strong, then we’ll keep on going—although I want to have a desert island by the time I am 50!

"The main thing in a duo is to put your ego away. It’s always important that we have consideration for the other person’s thoughts and beliefs, and that’s what has kept us together for this long."

You say as long as the relationship remains strong. How do you ensure that it does, after so many years working and traveling together?
Saporito:
The main thing in a duo is to put your ego away. It’s always important that we have consideration for the other person’s thoughts and beliefs, and that’s what has kept us together for this long, and what will keep us together for as long as we have the ego under control.
Middleton: It is a constant process. In this job, it’s very easy to get lost in yourself and there are obviously times where we don’t agree and have had some healthy fights, but we are both work hard to maintain it. It’s totally the same as having any relationship with a girlfriend.
Saporito: I also think that we never got too big too quickly. If you look at other duos, the ones that got too big broke up at the some point. Perhaps there are too many people throwing things are your ego, and maybe we have been blessed that we haven’t been subjected to that kind of intense pressure.

Returning to Follow My Leibe, what were the motivations behind it, and why did it come about nine years after the inception of Audiofly?
Middleton: We just didn’t feel the need to produce an album before that. We both think that an album is only for when you have something to say, and when you really feel it is the time. I always worry about artists who release an album early in their careers, because it takes a lot of experience to complete one. I don’t know about how it sounded to the outside world, but a lot of our experiences are subtly expressed throughout the album.
Saporito: We didn’t want to release an album that was only dance music, so we had to have a lot of moments in there that could only be achieved after having had many years together in the studio. We couldn’t have done that before.
Middleton: We both feel that there are two kinds of albums: greatest-hits albums and conceptual ones. We only wanted to write a conceptual piece that documents emotions and a journey, and we didn’t feel ready before that point in our career. Now that we have done the one, and we understand how to conceptually write an album, we are very much looking forward to writing another one.

Now that you have achieved the acclaim you deserve, do you feel any more pressure in your work?
Saporito: I wouldn’t really call it pressure. If anything, it has given us a greater desire to innovate. When we get to the studio, we forget about any outside pressure and expectation, and go back to doing what we know best. The best way to perform, in anything, is to base yourself on what you know best and that is exactly what we do. We will start a track or DJ set in the same way and tweak it a little each time, searching for new techniques and methods to find inspirations.
strong>Middleton: The pressure to innovate is an internal thing. It’s a personal need to innovate, and the pressure from the outside is something we have always fought against. We have always been trying to ignore this outside pressure, and it may have slowed down our long-term development, but it is something that gives us a unique identity. We pay attention to what’s going on but always do our own thing, staying true to our sound.

Tell us about the inspirations for Supernature. What was the idea behind the label?
Saporito: The initial thought was to release the music artists we like. It was quite simple, and we wanted to have a very strong visual aspect too. And then it grew into a platform for undiscovered artists to express themselves before going on to be their own artists in their own right. We are doing the same thing with Maison D’Etre, our other label, which is ultra-chilled and takes care of more artistic stuff. It does music for music’s sake, not because it’s going to sell lots of units. We do music that we like and not because it’s going to pay the bills. It’s been extremely fulfilling.

So, looking forward, what has 2015 got in store for you guys?
Saporito: We have a release through Supernature in just over a month. We have a two-tracker out. While remaining true to the Audiofly sound, one is certainly more heads-down techno-based and incorporates a wider ranger of influences. The other is a collaboration with Big Bully. After this, which have a mix we just finished for Rebellion, which is another step towards the sound we are playing out these days. It’s definitely something for bigger rooms and dance floors. We tested it out last week and it got a great reaction. On the deeper side, we also have a remix scheduled for August which is less intense and more melodic. It sounds more like the old Audiofly.
Middleton: We’ve also got some great ideas for the second album. There are two or three musicians we’d like to work with and are currently in talks with. We’d like to make the second album a bit more cinematic, not so much in the tracks themselves but in the whole approach to it. Out of that, we’re going to develop the live act because we feel this will complement the style of the album nicely. We’re also doing a number of exciting Flying Circus projects, including a cool collaboration with Heart Ibiza.

You talk about testing a track out on the dancefloor. Is this something you do with all your productions before you release them?
Saporito: This is a more of a recent thing. I feel there is always a reluctance to play your own music sometimes, because we spend so much time making it. But now, we feel that the music we are producing is perfectly in sync with the music that we are playing out so it only feels right to test it. We’ve always played our own music but now it is a more conscious decision to do it more often.
Middleton: I think recently there was little gap where we weren’t playing as much of our own stuff, because of this new style we seem to be associated with would work in podcasts but not so much on the dance floor—and our old sound definitively didn’t fit into our DJ sets.

How do you switch off from it all? Or do you?
Middleton: For myself, I try to meditate about four days of the week. I also do yoga because this helps my head. A bunch of us all try and go away at the end of the year to get away from the music completely.
Saporito: I really find cooking helps me to relax because it has this off-zone where I am completely in the moment.
Middleton: Cooking and music are almost exactly the same thing—so perhaps we are not switching off at all.

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Korg Introduces the MS-20M Module Synthesizer Kit http://www.xlr8r.com/gear/2015/05/korg-introduces-the-ms-20m-module-synthsizer-kit/ http://www.xlr8r.com/gear/2015/05/korg-introduces-the-ms-20m-module-synthsizer-kit/#comments Wed, 20 May 2015 11:00:41 +0000 http://www.xlr8r.com/?p=91626 The most recent in an increasingly long line of resurrections, Korg's MS-20M brings the legendary MS-20 synth to your desktop in all its glory—minus the keyboard. It’s nearly identical to the original, with the same analog oscillators, first-generation filters, and a VCA that’s been tweaked to reduce noise. There are handy new additions to integrate it into more modern workflows as well, including MIDI In and USB connectivity, as well VCO sync for added harmonic content, patchable PWM, and FM. It comes bundled with Korg’s own SQ-1 sequencer for Volca-style pattern generation, and all in all is the beefiest, most versatile version of the MS-20 ever created.

How It Looks
With solid metal construction and stained black wood ends, the MS-20M is a beautiful instrument. It’s also a kit, meaning you’ll have to put the thing together yourself: open the box and you’re greeted with bubble-wrapped circuit boards, a chassis, and a motherload of screws, nuts and washers. Assembling the MS-20M is a bit fussy, and will take you a few hours; though there’s no soldering, it can be frustrating—sort of like assembling a piece of Ikea furniture, with a somewhat abstract manual to match. Fortunately, once it’s finished, the results are anything but Ikea: build quality and finish are great, and the machine certainly feels sturdy enough for the long haul (you’ll also feel weirdly bonded with the hardware after putting it together yourself). It’s worth noting that the module is heavy, flat and long—nearly 9 pounds and two feet in length—so you’ll either want to make sure you’ve got the desk space for it.

How It Sounds
Fortunately, this relatively large footprint pays off: Unlike the MS-20 mini, the MS-20M’s patch bay uses full 1/4” jacks, and they’ve all got plenty of space to breathe. This makes the user experience an amazingly comfortable, almost luxurious one, and makes the knob-twiddling workflow fast and fun. Like its ancestors, the MS-20M excels at producing dirty, thwonking bass, but it’s also great for making drum sounds, leads, and plenty more. The frequency range of the LP and HP filters is vast, and you can go from skittering, screaming highs to dubby lows in a heartbeat. In general, the synth has fantastic sonic character; the fact that it sounds simultaneously modern and authentic to the original speaks volumes about the staying power of the MS-20 design.

korg MS-20M kit

Korg has added oscillator sync, which sounds great, and FM adds yet another level of sonic drama to the proceedings. For the first time, you can now flick between the dirtier, noisier 35 filter and the more hi-fi sound of the LM13600 filter with the flick of a switch.

The Bottom Line
As mentioned, the MS-20M comes with Korg’s SQ-1 sequencer, which, among other things, works great as an LFO. It's tiny, battery-powered, and works with all sorts of analog setups as an intermediary; while it would be nice to have the option to buy the MS-20M on its own (especially if you’ve got other sequencers in mind), it makes a nice compliment to the synth itself. The package isn’t particularly cheap, but you’re looking for that MS-20 sound—and can handle a few hours of build time after your ceremonial unboxing, perhaps while foaming at the mouth—you really can’t do better than this.

Pricing: MSRP $1700 (street $1199)

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Premiere: Hear dBridge Remix Radioactive Man's "White Light Monochrome" http://www.xlr8r.com/news/2015/05/premiere-hear-dbridge-remix-radioactive-mans-white-light-monochrome/ http://www.xlr8r.com/news/2015/05/premiere-hear-dbridge-remix-radioactive-mans-white-light-monochrome/#comments Tue, 19 May 2015 19:21:35 +0000 http://www.xlr8r.com/?p=91610 Radioactive Man released his White Light Monochrome EP in January this year on the LA based music and art imprint Reinhardt. At the end of this month, the EP will return in the form of the White Light Monochrome Remixes EP, which will also be released on Reinhardt.

First up, Radioactive Man collaborator and drum & bass legend dBridge takes on the title track, twisting the electro-tinged original into more club-focused territory; with skittering synths, sci-fi pads, and a body-moving low-end groove. The EP also features Jerome Hill and Shengi, who turn in reworks of "Space Ranger" and "Mechanical Music Menace," respectively.

White Light Monochrome Remixes will be released on May 25 and can be pre-ordered here, with dBridge's remix of "White Light Monochrome" streaming in full below.

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Cylob Preps EP for Power Vacuum http://www.xlr8r.com/news/2015/05/cylob-preps-ep-for-power-vacuum/ http://www.xlr8r.com/news/2015/05/cylob-preps-ep-for-power-vacuum/#comments Tue, 19 May 2015 16:48:47 +0000 http://www.xlr8r.com/?p=91602 In June, UK techno and electro pioneer Cylob will release a seven-track EP on Berlin's Power Vacuum, titled Inflatable Hope. The EP will follow on from Vectors 2, the label compilation released in March, which also featured Cylob's track "Spyworld." Inflatable Hope will be the first Cylob release to come out on vinyl since 2004, with the seven tracks "selected from over 100 ideas, sketches and demos" that were sent to Power Vacuum label head, Bintus. You can check out the full tracklisting and artwork below, ahead of the EP release on June 23.

POWVAC012 Artwork

Tracklisting:

A1 Concrete Corporal

A2 Granular Psychosis (Ect Mix)

A3 Zattrday

B1 Rosetta

B2 Ticking Over

B3 Mission to Mercury

B4 Pulp the Bass

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Florian Meindl "XLR8" http://www.xlr8r.com/mp3/2015/05/florian-meindl-xlr8/ http://www.xlr8r.com/mp3/2015/05/florian-meindl-xlr8/#comments Tue, 19 May 2015 15:43:38 +0000 http://www.xlr8r.com/?p=91593 Yesterday, techno artist Florian Meindl returned to his FLASH Recordings imprint for his latest LP, Collide. The album is heavily influenced by Meindl’s recent transition from a digital based production set up to recording mainly analog jamming sessions on his hardware set up including modular systems, an analog mixing desk, and classic machines like the Roland 909. Although not on the album, the aptly titled "XLR8" still bears the hall marks of this new set up with booming drum-machine rhythms and modular synth phrases rattling around on top of thick, buried textures. The nine-track LP was released in all digital stores on May 18—as well as Meindl's Facebook shop in a limited run 8GB USB Card—with "XLR8" available as a free download below.

XLR8

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Stream the New Altered Natives LP http://www.xlr8r.com/news/2015/05/stream-the-new-altered-natives-lp/ http://www.xlr8r.com/news/2015/05/stream-the-new-altered-natives-lp/#comments Tue, 19 May 2015 15:23:51 +0000 http://www.xlr8r.com/?p=91592 Back in February, we reported that London's Altered Natives (a.k.a. Danny Yorke) was about to release his seventh LP, In the Place Where Love Once Lived. With the album having come out in late March via his own Eye4Eye imprint, Yorke has now made the whole record available to stream in full via his Soundcloud page. The album's 13 tracks of dark, grainy house can be heard on the player below, while his 2011 contribution to XLR8R's podcast series can still be streamed and downloaded here.

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XLR8R Podcast 387: Mathew Jonson's Cobblestone Jazz Mix — MUTEK 2015 Festival Edition http://www.xlr8r.com/podcasts/2015/05/mathew-jonson-cobblestone-jazz-mutek/ http://www.xlr8r.com/podcasts/2015/05/mathew-jonson-cobblestone-jazz-mutek/#comments Tue, 19 May 2015 14:33:12 +0000 http://www.xlr8r.com/?p=91527 We here at XLR8R have a longstanding love affair with anything that Mathew Jonson touches, and here's why: Whether working as a solo artist or in one of his collaborative projects—the most known being Cobblestone Jazz, his partnership with Tyger Dhula and Daniel Tate—Jonson, who heads up the Wagon Repair label, has always walked a musical tightrope that's few others can match with his grace and style. The Canadian-born, Berlin-dwelling artist, who also works with his Cobblestone Jazz cohorts and the Mole under the Modern Deep Left Quartet moniker, makes and plays music that's exquisitely emotive, rhythmically ambitious and melodically complex, with threads of jazz, classical and the indescribable  weaving their way through the mix—but he’s still able to pack a dance floor with the best of 'em. If you need convincing, check out Cobblestone Jazz's excellent new EP on Itiswhatitis Recordings—and if you need more proof, you can hear Jonson when he does double duty  at  Montreal's upcoming MUTEK fest, where he'll play in solo mode May 28, and with Cobbblestone Jazz on Sunday 31. And you'll be convinced yet further through this stunner of a set, put together by Jonson via the magic of Ableton. It's a great listen, and we think—make that we know—that you'll enjoy it as much as we do.

VIDEO: Mathew Jonson discusses his XLR8R podcast.

Podcast 387: Mathew Jonson Mutek 2015 Festival Edition by Xlr8r on Mixcloud

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Trio of Amsterdam Clubs Set to be Granted 24-Hour Licenses http://www.xlr8r.com/news/2015/05/trio-of-amsterdam-clubs-set-to-be-granted-24-hour-licenses/ http://www.xlr8r.com/news/2015/05/trio-of-amsterdam-clubs-set-to-be-granted-24-hour-licenses/#comments Tue, 19 May 2015 14:16:09 +0000 http://www.xlr8r.com/?p=91572 As Resident Advisor reports, Amsterdam's mayor Eberhard van der Laan has approved 24-hour licenses for three clubs in the city. Radion (pictured above), Cruquiusgilde, and a new, as-yet-unopened venue from the people behind the recently closed Trouw will join the already-24-hour-licensed Tolhuistuin and Tower Overhoeks North if—as is expected—the city's council rubber-stamps the permits.

The move comes in the wake of widespread shock in the UK at a move in the opposite direction from Glasgow City Council, whose revoking of The Arches' clubbing license has been widely condemned as an attack on both the city's clubbing scene and the country's wider arts scene.

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Q&A: Octave One http://www.xlr8r.com/features/2015/05/qa-octave-one/ http://www.xlr8r.com/features/2015/05/qa-octave-one/#comments Tue, 19 May 2015 13:00:50 +0000 http://www.xlr8r.com/?p=91535 It's been two and a half decades since Octave One's "I Believe" came out as part on the seminal Techno 2: The Next Generation, and even in those early days, the production unit had already nailed down its sound: deep and driving melodic techno that's brimming with feeling, blending starkness and sublimity like few others. Its a sonic template that has served Octave One—Lenny and Lawrence Burden, with contributions over the years from siblings Lynell, Lorne, and Lance—well over the years, and, with only a few tweaks here and there, it's the template (with only a few tweaks in service of modernity) that you'll find on Burn It Down, the Motor City–born brothers' first album since 2008's Summers on Jupiter. Featuring vocal contributions from Afrika Pratt-Ansa and longtime collaborator Ann Saunderson (who also sang on 2000's "Black Water," among many other claims to fame), its packed with hard-charging yet emotive cuts that are pure Octave One. Burn It Down is released on the Burden's longtime label, 430 West, on May 26th—but you'll be able to get a sneak preview when Lenny and Lawrence Burden perform live at the Movement festival on May 23, and when they play an intimate in-store set in Detroit shop Spectacles on May 24.

I’d bet that when you guys first started you didn’t have a clue that, a quarter of a century on, Octave One would still be going strong.
Lenny: You don’t know what’s going to happen when you start making records. We didn’t know we were going to have a career at all; it was kind of just like recreation that turned into something more. We would just head into the studio because we loved it. You have to get something out of your system? Head to the studio! It was kind of like driving a fast car. But we’re certainly glad it did turn into something.
Lawrence: Of course, we didn’t know it would last this long.

The studio, along with playing live, is what you do this for, right? You’ve been quoted in the past that you’re not really into the record-business end of the whole endeavor.
Lenny: Early on, it was actually kind of fun—but it wasn’t close to the kind of enjoyment we got from making records. We’ve only been playing live for about 15 years—though Lawrence was deejaying way before that—but once we got into that, we thought that was the best part. If someone told me we had to give up the running-a-record-label part, we wouldn’t miss that at all.

Having said that, though, your label 430 West is still going strong, right?
Lenny: Absolutely, and the new album is coming out on it. But it’s not how it was before. In one point in time, when we had 430 West and Direct Beat, we were dealing with 18 artists. Now, we’re primarily dealing with ourselves—which is a drastic difference from dealing with all these people on a daily basis.
Lawrence: Oh, yeah. [laughs]

We weren’t part of the Detroit inner circle. We never were actually nurtured by what you might call the Big Three.

One thing I’ve always found interesting about you guys is that even though you’re longtime figures on the Detroit scene, it always seemed like you stood apart from that universe a bit.
Lenny: I would say that’s a true assessment. We weren’t part of the Detroit inner circle. We never were actually nurtured by what you might call the Big Three. We were never apprentices to anyone, like some of the other Detroit producers. We developed our sound on our own, just three guys working together. And when we initially were working on our first record, “I Believe,” it was only through a friend of a friend that ended up at the Metroplex studio to record it.
Lawrence: And that friend introduced us to Anthony “Shake” Shakir—and he’s the one who finally did bring us into the inner circle, or at least as close as we ever were. He was connected with everybody, but definitely with Transmat and Metroplex. That’s how we got in. I mean, we knew everybody from the Music Institute and everything, but we just weren’t in that core group.

Your music was also a little different from what the others were making at that point, perhaps.
Lenny: It was probably a lot different. Shake always used to tell us, “It’s techno, but it’s different. You can dance to it—or you can make love to it!” And he was right, because we always did like a deep and melodic kind of sound.
Lawrence: We never really felt like we were competing with the other guys. But we appreciated everybody’s style; we really loved everything that everybody was doing back then.
Lenny: It was weird how everything came together for us. I lived in an apartment building, and we had our first little studio in my apartment. Our next-door neighbor was Marty Bonds, who was working with Juan Atkins. Jay Denham lived there, too.
Lawrence: Carl Craig’s sister lived upstairs.
Lenny: It was like this weird little collective, and there never was any competition. We shared equipment all the time. But still, we were always sort of on the outskirts, which let us develop on our own.

"Having a record was huge, man. When you get to touch that vinyl, and put it on a turntable, and actually hear something that you did…that was the ultimate goal."

You were probably happy just to be getting records out and having those records get some recognition, whether you were part of the core group or not.
Lenny: To be honest, that was really the only thing we were thinking about. And having a record was huge, man. When you get to touch that vinyl, and put it on a turntable, and actually hear something that you did…that was the ultimate goal. You didn’t care about the financial rewards—you just wanted to make a record. And once you did that, you wanted to make another one.
Lawrence: It was addicting. It was a drug, seriously.

Lawrence, were you playing Octave One’s early material in your DJ sets at the time?
Lawrence: I didn’t really get a chance to that far back, because I didn’t start DJing until early ’93. I do remember playing “I Believe” and some others at that point, though, after the heat of the moment had already expired on them. [laughs]
Lenny: I remember hearing “I Believe” at the Music Institute very early on, though. I can’t remember who played it…it might have been Derrick.
Lawrence: That was amazing for us.
Lenny: We were actually working there at the time, doing lighting and effects. I also remember hearing “I Believe” on local radio.
Lawrence: We were driving in the car, and it just hit us—“Oh, man, is that our song coming on?!?” That was amazing. We thought we had hit the big time…the local big time.
Lenny: And then we could retire. [laughs]

Let’s flash-forward quite a few years and talk about your new album. This is your first LP of all-new music since 2008’s Summers on Jupiter—why the long break?
Lenny: To be honest, we’ve been on a kind of journey for the last few years. In 2007, we actually moved from Detroit to Atlanta; we had kind of needed to shake some things up. And then between the move and now, we’ve been doing tons of touring, and working more as a band as a production unit, which is a different concept.

Photo: Marie Staggat

Photo: Marie Staggat

Do you think that this switch has effected your productions at all?
Lenny: Before, I think we were primarily making music for DJs, and now we’re really making music for our live set. They’re largely tracks that we’ve developed by playing live, and that’s required almost relearning out we make music. We have known over these past seven or eight years what we want to achieve musically, but it’s been hard to get there. And we feel that it’s not good to put records out just to put records out.
Lawrence: At least, it’s not good for us. We’ve always just put things out when we feel we have something to say. We have had our growth spurts where we’d put three or four months worth of records back to back, but that only was when we felt that we had a real reason to, because the material needed to be out.

You just mentioned that the songs were developed by playing live. How does that process work?
Lenny: The live stage is our new studio. That’s how all of these songs came about. A couple of songs are even reworks, like “A Better Tomorrow”—that was initially released as a Random Noise Generation track. We had been constantly playing that song, and it had matured to a certain level where we realized that most people hadn’t heard it in its new form. But in general, when we’re playing, we’ll start with the shell of a track, add another piece, then do something different with the arrangement, then add another piece or whatever. We feel like this all came together when we did a Boiler Room set in Moscow last year. It was made up of tracks that we had developed live, and people were asking forthese records.
Lawrence: And so we had no choice but to release them. [laughs] We had so many requests on Facebook, like “What was that track at 20:16? I need it!” We just had to go into the studio and record them. I mean, DJs were playing the tracks off of YouTube or whatever.
Lenny: It really came to the point where we already had an album ready to go. It was already a full story.

What does the name of the album, Burn It Down, signify?
Lenny: It has quite a few meanings, but it’s really like a rebirth. We find that in both our careers and our lives, we have to break everything down to the basic minimum, so that we can then build it back up.
Lawrence: And when you burn something, it consumes everything—and when that happens, you have no choice to start from the ground up. There was just so much going on with our personal lives and our careers that we felt like it was time to press the reset button and see what it felt like.

And how is it feeling?
Lawrence: Oh, man, it’s exhilarating.
Lenny: You know, because we’re brothers and have been working together for so long, our lives and careers have kind of been in parallel. And it really helped to shake things up a little.

Do you guys ever get sick of working together?
Lawrence: I’m sick of him right now! But really, we have our moments. But the thing about being family is that you always come back together. You do have to get certain things out of your system sometimes, but it’s all cool.

There are a number of vocal tracks on your album, and you’ve always embraced singing a bit more than some of your Detroit contemporaries. What is the appeal of vocals for you?
Lenny: I think we’ve just both always really liked vocals.
Lawrence: For us, vocals are another instrument. A lot of times, we’ll have some melodies in a track, but we’ll hear another instrument that needs to be there. And that’s often a vocalist. We like to bring them in and add their accents to what we’ve already developed.
Lenny: Sometimes it will even happen after we put a record out. That’s what happened with “Black Water,”for instance, and more recently with [the new album's] “Jazzo/Lose Myself.” We actually released “Jazzo” on very limited vinyl, like 500 copies, a year or so ago. When we got the vinyl and played it, we said to each other “You know, this record isn’t finished.” We knew the record could be more. It was the same with “Black Water,” too. We always thought it should have some vocals, but at the time our resources were very limited, so we just couldn’t do it.
Lawrence: But after it started selling, we had the money to reinvest in the record, so we had the opportunity to go into the studio and add vocals and an orchestra.

With or without vocals, Octave One tracks usually have a lot of emotion in them.
Lawrence: We always like to feel something. Whether it’s happy or sad, we always want the music to evoke some kind of emotion. That’s always been true: Even back at the Music Institute, if someone was playing even a jack track or something, the music’s got to make me feel joyous, so I can close my eyes and dance around the club from one end to the other.

You guys are playing in your hometown on May 23 at the Movement festival. Do you feel any extra pressure when you play in your hometown?
Lenny: It’s not really pressure: it’s actually just a lot of fun! We get to see all of our peers and hang out.
Lawrence: It’s like, alright—we’re home!

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Stefan Jós Releases New Album; Stream it in Full http://www.xlr8r.com/news/2015/05/stefan-jos-releases-new-album-stream-it-in-full/ http://www.xlr8r.com/news/2015/05/stefan-jos-releases-new-album-stream-it-in-full/#comments Tue, 19 May 2015 02:55:25 +0000 http://www.xlr8r.com/?p=91507 Today, Montreal based musician and video artist Devon Hansen released his new album, Primitives, under his Opal Tapes-affiliated moniker Stefan Jós. The album saw release via Japan’s Flau imprint, following on from his hypnotic EP Things You Left Behind.

Primitives is a beautifully restrained album filled with minimalistic rhythms, moody atmospheres, and intricate textures, drawing the listener in with its rich sound design and tightly wound layers. Hansen, who also releases as Lotide and D.Hansen, uses his Stefan Jós moniker for his more beat driven, club-focused material. Hansen will also be performing a live set as Stefan Jós at the upcoming MUTEK Montreal.

You can stream Primitives in full below, with the album available for purchase here.

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Sasha Returns With New Production "Ether" http://www.xlr8r.com/news/2015/05/sasha-returns-with-new-production-ether/ http://www.xlr8r.com/news/2015/05/sasha-returns-with-new-production-ether/#comments Mon, 18 May 2015 14:52:17 +0000 http://www.xlr8r.com/?p=91482 Rightfully championed as one of the worlds most acclaimed DJs, producers, and label bosses, Sasha (a.k.a Alexander Paul Coe) has consistently delivered some of dance music’s most dynamic and innovative music.

Picking up from where previous his latest solo release "Vapourspace" left off, he has returned with another exquisite production entitled "Ether."

"Ether", an intensely built track that is driven by a thunderous bass drum rhythm, demonstrates Sasha's wonderful production skills with it's carefully layered and beautifully distorted synth arrangement.

Also included is an "Intro Mix", a  perfect re-work that follows the same fashion as  "Vapourspace" by providing a softer opening to the main production.

"Ether" can be streamed in full below.

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Premiere: Stream Array Access's Latest EP on Ressort, Download Bonus Track http://www.xlr8r.com/news/2015/05/premiere-stream-array-accesss-latest-ep-on-ressort-download-bonus-track/ http://www.xlr8r.com/news/2015/05/premiere-stream-array-accesss-latest-ep-on-ressort-download-bonus-track/#comments Mon, 18 May 2015 14:39:10 +0000 http://www.xlr8r.com/?p=91469 German producer Array Access has been making beats since 2010. His latest piece of work, a beautiful four-track EP entitled "Variations", is scheduled for release on a new label, Ressort Imprint.

"Variations" consists of two tracks, two remixes and a hard-hitting bonus track.

The two original tracks entitled "Variations" illustrate this young producer’s passion from the very first minute and take us on a cruise through rough beats while floating on airy synthesizer sounds at the same time.

Additionally to that, the remixers did their best to keep the beauty vivid. The Swedish producer Evigt Mörker stays true to his style and serves an interpretation fitting foggy clubs and misty forests alike while Eomac defends his reputation as being one of the most interesting artists these days with a take that is deeply anchored in modern electronica.

A1. Variation 1
A2. Variation 2

B1. Variation 1 (Evigt Mörker Remix)
B2. Variation 2 (Eomac Remix)

You can stream "Variations" in full below, and download the digital bonus track,  ahead of the full release on May 27.

Laicalg (Digital Bonus)

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William Welt "Shortcut Home" http://www.xlr8r.com/mp3/2015/05/william-welt-shortcut-home/ http://www.xlr8r.com/mp3/2015/05/william-welt-shortcut-home/#comments Mon, 18 May 2015 14:31:30 +0000 http://www.xlr8r.com/?p=91465 Next up on rising UK label Construct is the first of the new Construct LTD EPs, CLTD001. The CLTD releases will follow a slightly different path from the main label, with certain artists using pseudonyms and sometimes experimenting with sounds they might not always be associated with. CLTD001 presents a tougher and more stripped back sound, featuring tracks from Water Walk (Paul Louth & Mike Thornhill), Hugo Barritt, Stratowerx (Sam Russo) and William Welt. In support of the release, we've been gifted an unreleased version of William Welt's track "Shortcut Home," a deep and hypnotic outing with a fathoms deep kick and bassline combo, chopped vocals, and delayed, rhythmic-like chords swirling underneath. You can download the unreleased version of "Shortcut Home" for free below, with the full EP available for preorder here.

Shortcut Home (Original Mix)

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Get Familiar: Lauer http://www.xlr8r.com/features/2015/05/get-familiar-lauer/ http://www.xlr8r.com/features/2015/05/get-familiar-lauer/#comments Mon, 18 May 2015 14:00:17 +0000 http://www.xlr8r.com/?p=91373 lauerWith a career that spans more than ten years already firmly under his belt, the German DJ-producer Phillip Lauer might not seem to comfortably slot into XLR8R’s Get Familiar series. Lauer is, however, a man of many guises—and the vast majority of his previous musical work has come under a range of different monikers and collaborative projects, including Tuff City Kids (with Gerd Janson), Hotel Lauer [with his brother, Jacob] and deep-house duo Arto Mwambe. Away his production and remix duties, Lauer is a widely-acclaimed DJ and founder of Brontosaurus, the label he started with two pals in 2006 through which he puts out both his own music and that of his "weirdest musician friends."

It is only now, however, following the release of Borndom, his impossibly infectious, just-released second full-length LP on Permanent Vacation, that he is being fully acknowledged as Lauer, the pseudonym he adopts for his solo production work. XLR8R caught up with Lauer to learn more about his early musical inspirations, production values for the album and what else 2015 has in store for him.

"I bought some cheap software to produce some music and, although it completely sucked, I just got hooked.”

With early musical influences that include hip-hop and punk rock, Lauer has been producing electronic music ever since the late ’90s. “I was a skateboard kid and I loved the videos,” he says. “I started to play in bands, and then I just kind of stumbled across some electronic music that I liked, and my interest just grew from there. I bought some cheap software to produce some music and, although it completely sucked, I just got hooked.”

His first production, under the name “Kizz My Phillipino Azz,” was a deep-house tune mastered straight from tape and became the last catalog number of the a friend’s label, Inbetween Records. “My first release was the label's last one,” jokes Lauer.

Although he was "definitely not taking his production too seriously at that moment," Lauer honed his skills over time and carefully mastered his ’80s-influenced disco sound with a string of well-received releases on such labels as Séparé Recordings and Punkt Music. Remixes, too—including high-profile productions for labels as varied as Trevor Jackson’s Output and Jazzanova’s Sonar Kollektiv—steadily became a larger part of his repertoire,, creating a reputation that eventually inspired the now-dormant Arto Mwambe project with his fellow Frankfurt producer Chris Beisswenger in 2004—perhaps Lauer’s most lauded work collaboration to date.

Photo: Nadra Ridgeway

Photo: Nadra Ridgeway

There is a quite unmistakeable and undeniable enthusiasm in Lauer’s voice as he talks. His modern day contemporaries might become tempted by the glitz and glamor that success in music inevitably offers, but there is a sense that Lauer remains very much a musician’s musician, motivated by little more than refining his craft and a profound love for his work. “I am just trying to do my thing,” he says. “For me, it’s not a profession—it’s still just something I really enjoy and I would do it even if it didn’t pay me enough to live.” he adds. “Throughout my whole career, I have been doing it alongside my job in a distribution company—until that went bust last year. I tried to find some other things to do but it didn’t interest me, and I was already making enough money [from music] to feed my family and pay the rent.”

By seamlessly combining his love of house music and wavy disco beats, Lauer has steadily, almost unintentionally, adopted a impossibly beautiful melodic sound that’s both easily attributed to his name and reflective of his affection for ’80s and ’90s electropop music. “There is no plan behind it—it just turns out like that,” he says. “I was listening a lot to the radio when I was growing up, and I think that the tracks stuck in my head more than with other people,” he adds. “Also, I think the machines I use also give me a different sound. They are all from the ’80s and ’90s and so make very unique notes.”

Released three years following his marvelous debut solo LP, Phillips on Janson's Running Back label in 2012, Borndom was recorded over a three month period in the quiet attic studio of Lauer's home, near where he regularly DJs at Offenbach's Robert Johnson club. The name, inspired by the word “boredom,” ironically reflects a lack of inspiration or vision in what Lauer was trying to produce. “I didn’t have a concept behind the album, and because there is no main theme behind it, I just wanted a really basic name. Everyone knows the word “boredom,” so that’s what I was thinking. I also think it sounds good,” says Lauer. “I was going to name it Phillips 2, but I decided to go with Borndom!

“Although each track was finished in my new studio, I have been thinking about this album ever since I finished the last one, and so I see it as an accumulation of all the different ideas and inspirations I have collected over that time,” he says. “Over the past few years, I’ve had so many ideas for music that wouldn’t fit on a twelve because they aren’t very clubby, so I put them aside and used a lot of them in the album. As soon as I felt ready and knew I wanted to release another LP, I filtered through this big pile of stuff to find all the good ideas.”

As for the result, Borndom takes the listener on a thirteen-track trip that only Lauer could devise. While remaining true to his signature sound and showcasing further his supreme songwriting attributes, Lauer’s latest solo work exudes a greater sense of maturity, moving away from the Balearic dancefloor tracks of his previous LP in favor of a progressive journey of distinctive synth lines and minimal ’80s pop melodies, with the welcome addition of vocals. “A lot of people told me that I should add vocals so that’s what I just started to believe. I did a couple of tries where I added my vocals—but there is not yet a plug-in that can make it sound like I can sing, so I just asked some friends if they would help me”

“I do think Borndom feels more like an album, but I didn’t intend for it to sound any different [than Phillips],” he says. “However, I would say that I put more effort into Borndom. For Phillips, I wanted to see if I could finish enough tracks to make an album because I had never done it, but for for the new one, I knew I could do it so it is a lot more consciously put together.”

As for what’s to come, it’s clear that Lauer’s recent focus on his solo material is no precedent for his future intentions. For now, it’s more collaborative projects, including some new tracks with Tim Sweeney from Beats in Space and more remixes and productions from Tuff City Kids. Rest assured, however: Lauer will be back soon.

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Premiere: Stream "Thinking About You" from Submerse's Upcoming EP on Project: Mooncircle http://www.xlr8r.com/news/2015/05/premiere-stream-thinking-about-you-from-submerses-upcoming-ep-on-project-mooncircle/ http://www.xlr8r.com/news/2015/05/premiere-stream-thinking-about-you-from-submerses-upcoming-ep-on-project-mooncircle/#comments Mon, 18 May 2015 11:48:57 +0000 http://www.xlr8r.com/?p=91489 In March, Tokyo-based beatmaker Submerse announced he'd be returning to the Project: Mooncircle imprint with a new EP. Entitled Stay Home, the record was said to take its cues from '90s slow jams and R&B music videos, and was partially inspired by the views of urban life visible from the window of Submerse's ninth-story apartment in the Shibuya neighborhood of Tokyo. Now, just a week ahead of its release, the former XLR8R podcast contributor has offered up an advance stream of EP cut "Thinking About You."

"Thinking About You" features Submerse's signature slow-burning beat collages, nodding toward fellow producers such as Lapalux and Shlohmo. The EP follows from Submerse's 2014 debut album, Slow Waves, and is due out on May 26 in both vinyl and digital formats; bonus tracks will be available through the purchase of limited-edition CDs. In the meantime, further details of Stay Home are available here, and "Thinking About You" can be heard below.

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Jack J Preps EP for Future Times, Shares Clips http://www.xlr8r.com/news/2015/05/jack-j-preps-ep-for-future-times-shares-clips/ http://www.xlr8r.com/news/2015/05/jack-j-preps-ep-for-future-times-shares-clips/#comments Mon, 18 May 2015 08:07:39 +0000 http://www.xlr8r.com/?p=91476 Jack J of Vancouver label and collective Mood Hut debuts on Future Times next month with the Thirstin' EP. As reported by Resident Advisor, the producer born Jack Jutson first gained attention as one half of XLR8R favorites and proprietors of playful, dusty house Pender Street Steppers, before releasing his first solo 12" in 2014. Jutson is the latest Mood Hut affiliate to ally with Maxmillion Dunbar's DC-based Future Times label, following records from Hashman Deejay and House of Doors last year.

According to the imprint, a-side cut "Thirstin'" "takes the day-in-the-life quintessence of Something (On My Mind) even further, using his voice to beautify the sparkling, spaced track." Flipside, "Atmosphere" is said to have a "Patrick Adams vibe." Clips for both tracks can be previewed below, ahead of the EP's official arrival in June.

A Thirstin'
B Atmosphère

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my.head "Reversed Wish" http://www.xlr8r.com/mp3/2015/05/my-head-reversed-wish/ http://www.xlr8r.com/mp3/2015/05/my-head-reversed-wish/#comments Fri, 15 May 2015 21:56:19 +0000 http://www.xlr8r.com/?p=91459 French producer my.head has been releasing music for around half a decade, churning out genre-spanning tracks on his own and across collaborations with grime artist Last Japan and Norwegian singer/producer Ida Dillan. This week saw the release of his latest EP, En Noir, on Kastle's Symbols imprint.  The cinematic EP was born out of "hardship and a solitary, 18 month recording process," taking in Sci-Fi movies, video games, and contemporary hip-hop as influences. Pulled from the EP is "Reversed Wish," an atmospheric cut underpinned by thick, floating pads, with twisted vocals, snare rolls, and faint wind chimes filling things out. The EP is available now and can be purchased here, with "Reversed Wish" available as a free download below.

Reversed Wish

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Q&A: Detroit Swindle http://www.xlr8r.com/features/2015/05/qa-detroit-swindle/ http://www.xlr8r.com/features/2015/05/qa-detroit-swindle/#comments Fri, 15 May 2015 18:12:47 +0000 http://www.xlr8r.com/?p=91321 In early 20012, few people outside of the Netherlands were familiar with Lars Dales and Maarten Smeets. Nowadays, pretty much anybody with an interest in quality house music knows who they are—perhaps not by their names, but definitely by their production moniker. Dales and Smeets are the men behind Detroit Swindle, a duo which in three short years has rocketed to the top of the four-to-the-floor universe through a series of rock-solid releaes, released on some of dance music's most revered labels. One of those labels, Freerange, has just released the pair's Figure of Speech EP, a release that sees Dales and Smeets adding a touch of Afro- and Brazilian-tinged swagger to their bag of strutting tricks. XLR8R caught up with the pair via Skype at Detroit Swindle's Amsterdam headquarters, and discovered that the charming twosome are a bit amazed themselves at their rapid ascent.

You guys seem like such an established part of the house-music scene nowadays – but in reality, you’ve only been releasing music as Detroit Swindle for three years. I’m guessing those three years must be something of a blur.
Dales: Yeah, it has been! We started because we just wanted to do it, basically, and it’s all happened very quickly. The goal wasn’t big success; the goal was to make music, and see what happened. Then from the first release on, it just all happened with a bang—and the ball has never really stopped rolling.

What had you both been doing before Detroit Swindle?
Smeets: Lars had been DJing a long time as his job, and I used to working in advertising. But I had been promoting parties here in Amsterdam as a fun side project for a while, mainly the underground, techno, German, Dixon-style kind of stuff. Lars was doing more hip-hop kind of stuff. We knew each other through promoting through the same club a while back, but never really got together. But then at some point, we did—and this is what happened!

Did you pick up any marketing skills from your advertising days that have helped you out in the dance-music world?
Smeets: Lars is actually the big Facebook and Twitter fan, so he does all the social stuff. Which I guess is funny, because that’s how I used to earn my money.

That’s probably why you don’t want to do it now.
Smeets: That’s probably true. [laughs] But having a experience in advertising does make a difference, I think—you kind of know what people on the other side of the spectrum want to see. You know how communication works.
Dales: And how business is conducted. Most artists have a very…”artist” point of view, I guess. Which we do too, I guess, but we both had tons of experience from our former jobs. Besides DJing, I had been a promoter for a decade, and from that, we know how to talk to a promoter when something is wrong or something has to be changed. Having a background in different things has definitely helped.

Speaking of marketing—how did you settle on Detroit Swindle as a name?
Dales: We had known for a while, and then we lost touch for a long time, and then after ten years we re-met, and started talking about music. Maarten was playing for me and my former partner at this café-club, and we needed to have a serious talk about the music he was playing. It was a gay club, and what he was playing was maybe a little bit too…serious, maybe. So we were talking about that, and realized that we really liked all the same stuff. The biggest common denominator was music from Detroit—Motown stuff, a lot of Detroit hip-hop and other things. So when we finally started this project, we wanted to pay homage to our biggest musical connection. But we didn’t want to sound like we were saying we’re from Detroit—so the Swindle part was added to be a little tongue-in-cheek, and to let people know that we’re not actually from Detroit. Sometimes people don’t understand it, though—we have to explain it.

I wonder if Motor City Drum Ensemble has the same problem.
Smeets: He can say that he’s Stuttgart, which is the the German motor city—so he’s okay.
Dales: It doesn’t really matter anymore where you are from; music doesn’t have any geographical boundary now, anyway. It’s more about the music you make rather than the name you choose. In retrospect, yes, we might have chosen a different name, because people from Detroit tend to misinterpret our intentions.

Detroit natives can be very protective of their city.
Smeets: And rightly so.
Dales: We don’t want to borrow their culture heritage. We just want to pay homage to the music we grew up with.

It’s certainly a catchy name.
Smeets: You can still say when you’re drunk, which is important.

Has your own hometown, Amsterdam, been supportive of what you’ve been doing?
Dales: Yes—but the funny thing for us was that we didn’t really start out as a resident DJ team somewhere in Amsterdam. We started by making and releasing music—and our first success was international, not local. The records were picked up in England and in Germany, and then suddenly we’re doing a U.S. tour. Everything that happened here actually came a bit later than the rest of the world. We do headline a lot of parties here, but we’re still building our name here more than you might expect. We do seem to be getting more and more supporters every day, which is really nice to see.

Where does it seem like you have the most support.
Dales: It used to be U.K., Germany, Holland, and then the United States that were our biggest followers. But I just checked Souncloud today, and now it goes, U.K., United States, Germany and Holland. So the United States is going up.

You’ve just released the Figure Of Speech EP on Freerange, and you’ve been associated with Freerange since Detroit Swindle’s early days—how did the original hook-up with that label happen?
Smeets: We actually had a list of labels that we really wanted to release on, sort of like if everything happened according to whatever our biggest plan might be, we might get a release on Freerange. And we’d be the happiest guys in town. We got in touch with Jamie [Odell, a.k.a. Freerange label founder Jimpster] through a mutual friend and sent him “Creep,” which was the title track from the first EP—and he was blown away by it. When we got his e-mail saying that he wanted the track, and if we had two other tracks to put on the release, we just couldn’t believe it.
Dales: We hadn’t even been releasing music for half a year then. So we had to make bigger goals at that point!

You had already reached your original goal.
Dales: Right. And because we love Freerange so much, we said we would do more EPs for the label. We’ve released one a year since then.

The Figure Of Speech EP isn’t a huge departure, style-wise, for Detroit Swindle., but the title track has a definite Afro influence, and “Live at the Cosmic Carnival” has a real tribal feel to it. Were you making an effort to add a bit of rhythmic diversity to your sound, or was it simply just the way those tracks came out?
Dales: In the past year, we’ve actually been playing a lot of Afro-infused stuff, and buying a lot of records with that sound. This particular record came together after we visited Recordland in Calgary, which is one of the biggest second-hand record shops we’ve ever been to. We bought a bunch of weird conga stuff and African drum records that had all these great samples. So its two things: We’ve been playing a lot of Afro-infused stuff and have really been enjoying it, and from that, we’ve been getting inspiration to make something that we get the same enjoyment thing. And thanks to Recordland, we had the opportunity to sample lots of obscure old percussion solos and all kinds of things. So it’s not really an effort; it’s more just that the music has evolved.
Smeets: Our music has become more and more diverse, I think—we’ll play disco, too, or we’ll fit funk and soul tracks into our sets. The evolution is that our sound is getting broader, with more influences coming out.
Dales: In the beginning, we were mostly listening to deep house, so we didn’t really have the foundation yet. I mean, we had the hip-hop thing, and the funk and soul thing, but we never had much background with Afrobeat, for example, or the original true disco stuff. So we weren’t playing that. Now we’re playing it more and more and more, and that comes through in this EP, I think.

Detroit Swindle-2 kopie

Besides Freerange, the quality of labels that Detroit’s been on in the past three years is quite amazing. There’s Dirt Crew Recordings, Murmur, Tsuba…these are among the elite of the world’s house-music labels, which must give you guys a feeling of fulfillment.
Smeets: It’s been really special to be on labels that we really regard highly, and that a lot of other people regard highly as well. The fact that we have a good connection with people like Jamie, and Kevin [Griffiths] from Tsuba and Peter [Gyselaers] from Dirt Crew has really helped both with our production work and our confidence about what we’re doing. We’re really lucky.
Dales: The weird thing is that we never really thought that we had released so many tracks! We were looking at our own Beatport page and saw that there were over 35 tracks. We were like, really? You don’t really think about it until you see it.

I guess you can get a lot done when you are full-time artists.
Smeets: In the beginning, it wasn’t so easy. For the first year, Lars was still playing other gigs because, well, you’ve got to pay your bill. I had a kid—now I have two—and was still working three days a week at the ad agency. We had to put every free hour we had in the studio.
Dales: I think we actually spend less time now in the studio than we did then. That’s because of the touring.
Smeets: Basically, we’ve been really busy! [laughs]

And you’ve also been busy with your own label, Heist. Other than releasing your own material on Heist, how do you decide what to put out on the label?
Dales: It’s all gut feeling. Most of the people that we’ve released, we already knew, either personally or professionally. But beyond that, we just ask people, “We really dig your sound—would you be up for releasing on your label?” And luckily, most of them are. As the label grows and does well, it gets even easier to get people. Now they’re like, “Oh my God, it’s Heist—I really want to do it!” We do occasionally get a demo that really hits us.
Smeets: Like this one we have coming out in September. It’s from this completely unknown couple of guys
Dales: I think they have 31 friends on Facebook, who are probably their mothers and fathers and friends and nieces. [laughs] But they make really cool stuff. And that’s the best part about having your own label.
Maarten: It’s not about money; it’s not about likes; it’s just about sharing amazing music.

Can you name this up-and-coming act?
Smeets: Yes, we can! It’s Ouer. Not the easiest of names, but that’s not important. It’s nice, electronic, distorted but soulful house with a very cool vibe.
Dales: One of the guys actually booked us in the very beginning, right after we started. Suddenly he sent us all these tracks—and they were all amazing.

So what’s next on the Detroit Swindle agenda?
Smeets: Well, we’ve been doing our live set for a while now—but we’ve completely changed it over the past year, and now it involves a lot more gear. Which is a lot of fun, but a bitch to carry around! So we’ll be doing that a lot. We have a big festival coming up in Belgium in a place called Dour, and for that, we’ll be bringing a keyboard player, an amazing player who used to tour with Jamie Lidell. It’s almost like the Detroit Swindle Band! Or something that might evolve into that, at least. It’s a lot of work—we still need to practice a lot—but it’s also going to be a lot of fun. And we’ll be coming back to the States in the first two weeks of July, and doing all these other cool festivals, like this solstice festival in Iceland, something in Croatia, and the Southern Soul Festival in Montenegro with Gilles Peterson, Nightmares on Wax and Ron Trent. We’re really concentrating on trying to do a lot of diverse, not-too-obvious kinds of shows. Which might not be the best idea, business-wise—but if its fun to do, it doesn’t matter so much how much you get paid.

“Fun” seems to be the operative word for you guys.
Dales: This is our job, so we do need to make enough money to live, but it was never about the money. We can’t really complain—we’re buying lots of cool stuff for the studio, we get to travel, and we get to buy cool sneakers or whatever. But it’s really about doing what we love to do. I know that sounds super-corny—but we really just want to make music and play music.

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Marcel Lune Announces Debut LP http://www.xlr8r.com/news/2015/05/marcel-lune-announces-debut-lp/ http://www.xlr8r.com/news/2015/05/marcel-lune-announces-debut-lp/#comments Fri, 15 May 2015 13:53:12 +0000 http://www.xlr8r.com/?p=91439 Bristol talent Marcel Lune, whose esoteric, slightly hyperactive productions have previously found favour in our Downloads section, has announced his debut LP. Entitled Sounds From The Desert Gully, the full-length offering is said to gather together 12 "maximalist, genre spanning grooves" that blend influences as diverse as hip hop, saccharine pop, G-Funk, 2-Step and glitch. No audio samples are yet available online, but we have included the album's artwork and tracklist below ahead of its full release via Tony Thorpe’s Studio Rockers label on July 17.

STUDRCD005
01. Noookula
02. Cali 96 ft Lee Laamaj
03. Voids
04. Soul Beat Runner
05. Voyager
06. Seawolf
07. Gully State
08. D'angelo
09. Fantazia ft Haze
10. Only You
11. Under The Willow
12. Eight Legged Elephant

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Hivern to Release Debut Album From INIT http://www.xlr8r.com/news/2015/05/hivern-to-release-debut-album-from-init/ http://www.xlr8r.com/news/2015/05/hivern-to-release-debut-album-from-init/#comments Fri, 15 May 2015 13:10:32 +0000 http://www.xlr8r.com/?p=91435 Barcelona imprint Hivern has announced a summer release for Two Pole Resonance, the debut LP from Rhein-Main pair Benedikt Frey and Nadia D'Alò (a.k.a. INIT). The album follows on from the March release of a self-titled 12" on the label, which featured a couple of tracks from the album plus remixes from Willie Burns, C.P.I., and Cliff Lothar. The album finds the duo further exploring a low-slung, throbbing new-wave sound awash with moody keys and even moodier vocals. Two Pole Resonance is due for release on July 13 via Hivern, ahead of which we have included its artwork and tracklist below. A further pre-album sampling of the pair's slow'n'low sensibilities can be had over at RBMA, meanwhile, where they have just today dropped a DJ mix with the foreboding name Train Wreck.

HVNLP01_INIT_ALBUM_COVER_Web.indd
1. Take A Long Walk
2. Talking About Talking
3. Blind End
4. Shake Off Dust
5. Row
6. Blackbird
7. Untitled Sympathy
8. Echoes
9. Two Pole Resonance

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XLR8R Weekly Event Selections http://www.xlr8r.com/news/2015/05/xlr8r-weekly-selections/ http://www.xlr8r.com/news/2015/05/xlr8r-weekly-selections/#comments Fri, 15 May 2015 11:00:41 +0000 http://www.xlr8r.com/?p=91387 As events continue to populate our events calendar, we thought it fit to introduce to our readers a weekly selection of festivals and events from around the globe—with a little extra love shown to XLR8R hq Los Angeles.

May 13-17 Nuits Sonores / Lyon, France
The 13th edition of the annual Nuits Sonores festival kicked off just two days ago and will continue day and night through the weekend. The daytime programming is curated by Barcelona's John Talabot—who recently spoke to us in this Q&A—UK producer Jamie xx, and German techno artist Ben Klock, who each have selected one day's worth of goodies. The four nighttime lineups are packed with tasty acts such as Tale of Us, Nils Frahm, Agoria B2B Mano Le Tough, Gerd Janson, DJ Qu, and legends like Carl Craig, The Orb, and of course, this weeks XLR8R podcast artist, Laurent Garnier; along with many others. With heavy focus on visual and digital culture and a variety of arts-oriented activities, this is one multi-disciplinary event we did not want to miss.

May 15-16 Fiber Festival / Amsterdam, Netherlands
Kicking off today, this year's FIBER Festival aims to explore audiovisual art, digital culture, and music with the use of digital tools. The program includes music performances by Felix K, London Modular Alliance, Neel, and John Osborn; with the AV-performances including the two premieres: Divergence by Zeno van de Broek and False Awakening by Microseq. FIBER will also feature creative coding workshops, a symposium, and exhibitions.
Learn more from our recent interview with FIBER director Jarl Schulp, the festival's club and visual-sceneography curator Luuk Meuffels, and Arvan Rietveld, the owner of Field Records.

May 15 Nuit Noir XII and Prime / Los Angeles, US
Droid Behavoir, Das Bunker, and Mount Analog come together to present this techno heavy Jealous God label night featuring label artists James Ruskin, Terence Fixmer, Broken English Club, and Silent Servant. Support comes from Los Angelenos Raiz and Reverend John who will throw down special 'history of industrial' DJ sets. The night also features the US Film Premiere of the anticipated music documentary Industrial Soundtrack For The Urban Decay directed by Amelie Ravalec and Travis Collins. You can check out the trailer here.

May 15 A Club Called Rhonda / Los Angeles, US
Los Angeles offers something for everyone this weekend with Rhonda presenting a stellar lineup featuring Hessle Audio's Ben UFO, Aus Music's Midland, Montreal's Jacques Greene, and UK's South London Ordnance, with support from Rhonda residents GODDOLLARS and Paradise. The event is promised to be "out of this world" and if you know anything about how Rhonda does it, you won't have any doubts.

May 17 Piknic Electronik / Montreal, Canada
The four month long summer season of dancing under the Calder at Parc Jean-Drapeauof kicks off this weekend with Mano Le Tough and The Drifter on Sunday, and Heidi and Maya Jane Coles on Monday. A host of fine local talent are also featured throughout the inaugural weekend. The popular Montreal festival surpassed 100,000 visitors for the first time in 2014 and is spreading its wings across the globe with sister festivals now in Barcelona, Melbourne, and Dubai, with aims to expand to ten cities over the next 5 years.

May 17 Sunset Island Fest / San Francisco, US
San Francisco's annual electronic music picnic extravaganza takes place this Sunday at the Great Lawn on Sunset Island. The all ages daytime event will feature a mostly west coast based lineup including Palette recordings John Tejada, live duo Tone of Arc, Chicago house music legend Mike Dunn, and Sunset Sound System's Solar, Galen, and J-Bird.

May 17 UR Art Festival / Los Angeles, US
UR Art Festival returns for its second summer to Bergamot Station in Santa Monica with the three festival founders Philipp Jung of M.A.N.D.Y, Thievery Corporation's Rob Garza, and Roam Music's John Wander representing the bulk of the opening event's lineup; in addition to a live performance by Supernature duo Dance Sprit. The kid friendly daytime event focuses on sustainability and is 100% solar powered. Live art will be curated by Juxtapoz Latin America and the event also offers a selection of earth friendly fashion and food vendors.

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