XLR8R http://www.xlr8r.com Accelerating music & culture Mon, 06 Jul 2015 23:41:42 +0000 en-US hourly 1 Ballerino "Love (Bunki Remix)" http://www.xlr8r.com/mp3/2015/07/ballerino-love-bunki-remix/ http://www.xlr8r.com/mp3/2015/07/ballerino-love-bunki-remix/#comments Mon, 06 Jul 2015 22:29:48 +0000 http://www.xlr8r.com/?p=95059 Ballerino—a founding member of South-East London-based artist collective squareglass—released his B-side single "Love / Concentrate" via the squareglass Bandcamp page last month. The release featured two fragile originals from Ballerino and a remix of "Love" by fellow squareglass producer Bunki, who chops and refits the laid-back groove of the original into a gorgeous bed of atmospheric soundscapes. Beautiful synth lines ping pong on top of buried drums and faint, whispered vocal chops, creating a sound world to get lost in. You can download Bunki's remix of "Love" below, with the full release available here.

Love (Bunki Remix)

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Florian Kupfer Preps EP for Technicolor, Shares Track http://www.xlr8r.com/news/2015/07/florian-kupfer-preps-ep-for-technicolor-shares-track/ http://www.xlr8r.com/news/2015/07/florian-kupfer-preps-ep-for-technicolor-shares-track/#comments Mon, 06 Jul 2015 18:53:22 +0000 http://www.xlr8r.com/?p=95006 Ninja Tune's singles label, Technicolor, will release the latest EP from Florian Kupfer on July 24.

The four-track Explora EP is a mechanical ride into the depths of Florian's trademark live-hardware jams. Bookended by punchy, drum-machine percussion and a menacing low end, the EP was inspired by the "solace of Berlin winter, dormant emotions following the 9/11 attacks and psychedelic experimentation."

Ahead of the July 24 release date, you can stream "Headpiece" in full below.

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Premiere: Hear Fred P Remix Bravik's "130314" http://www.xlr8r.com/news/2015/07/premiere-hear-fred-p-remix-braviks-130314/ http://www.xlr8r.com/news/2015/07/premiere-hear-fred-p-remix-braviks-130314/#comments Mon, 06 Jul 2015 17:25:44 +0000 http://www.xlr8r.com/?p=94988 Newly launched, Helsinki-based imprint Dept. will release Denzel & Bravik's VA1 on July 13.

The label endeavours to "promote Nordic electronic music whilst pioneering its local talent," and does so in style on its debut release with three cuts from Finnish artists Denzel, Bravik and Satoi. The EP also lands with a reshape from Brooklynite Fred P, who twists Bravik's "130314" into almost unrecognisable territory with atmospheric pads, funky chords, and rolling vocal chops. It's a fitting end to a brilliant debut EP for Dept.

Fred P's remix of "130314" is available to stream in full below, with the EP available for purchase on July 13.


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Alex Cortex Multi EP http://www.xlr8r.com/reviews/2015/07/alex-cortex-multi-ep/ http://www.xlr8r.com/reviews/2015/07/alex-cortex-multi-ep/#comments Mon, 06 Jul 2015 16:48:37 +0000 http://www.xlr8r.com/?p=94983 He doesn't often rear his head, but Alex Cortex has re-emerged from his bunker with the third offering for fledgling Croatian techno label Barba. Sticking with the label's no-nonsense focus on analog techno and raw grooves, Multi, as the title suggests, remains a musically diverse work, with different mood strands and attributes attached—it's a release designed to take a global, inward-looking approach to texture, sound and, ultimately, the dancefloor.

"Spike Train"—a physiological term used to describe sudden patterns in brain function—starts with light pad touches and a tribalesque atmosphere; driving, metronomic ticks add to its hypnotic attributes before an electroboogie break, pressurized and compressed into raw blasts and bursts, punctures the surface. In contrast, "Time Texture" couldn't be further away from the aesthetic of "Spike Train," as changing time signatures, shape shifting rhythms and roughly-cut, analog effects bounce and pop across all channels. Perseus Traxx is enlisted to give the track more groove and pace, stripping back the elements and fusing a big, rubberized bassline around a hollowed, clanking industrial drum break. The sum of its parts collectively amount to an acidic, hi-NRG techno track, the attack levels turned to maximum with chanting vocals adding to its otherwordly backdrop.

Finally, Cortex has hauled in Florian Kupfer for a remix of "Spike Train," the version focusing on the percussive elements of the track; grinding synth keys and fractioned hi-hats add to its rhythmic intensity. With Mult Alex Cortex has supplied some superb, rawly-cut electro and techno, tailored for the late-night freaks without apology.

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Bollywood Life "Clear" http://www.xlr8r.com/mp3/2015/07/bollywood-life-clear/ http://www.xlr8r.com/mp3/2015/07/bollywood-life-clear/#comments Mon, 06 Jul 2015 16:13:10 +0000 http://www.xlr8r.com/?p=94951 On July 23, LA / Denver-based label Shoeboxx Recordings will release Denver-based artist Anton Krueger's (a.k.a. Bollywood Life) debut EP, MANYA. The three track EP will be available as a free digital download along with a limited edition cassette and limited edition clear poly-lathe 7" record. In support of the release, XLR8R has been gifted "Clear," a multi-colored, beat driven number with tightly wound drum sequences, thick, swelling chords, and pitched vocal chops. The EP will be available on the Shoeboxx Recordings Bandcamp page on JUly 23 and in the meantime you can grab "Clear" for free below.


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Q&A: Art Department's Jonny White http://www.xlr8r.com/features/2015/07/qa-art-departments-jonny-white/ http://www.xlr8r.com/features/2015/07/qa-art-departments-jonny-white/#comments Mon, 06 Jul 2015 13:00:53 +0000 http://www.xlr8r.com/?p=94838 Since it formation 2009, the Toronto-based Art Department project—the duo of Kenny Glasgow and Jonny White—has grown to become a linchpin of the electronic music scene, lauded across the globe for its dark and brooding output. But this past April, just months after duo’s second studio album hit the shops, it was announced via Facebook that Glasgow had disembarked the collaboration to pursue a career as a solo artist. It was an unexpected announcement, one that raised questions as to how White would carry the project forward as a solo artist. Upon the release of Fabric 82, the first page in Art Department’s latest chapter, XLR8R spoke with White to learn about the split, and to hear his thoughts on the future of the project.

Looking back at all you achieved as a collaboration, you must be extremely proud. Do you see this as a fresh start for Art Department, or a just a continuation of the same project?
I'm very proud of what Kenny and I achieved with Art Department. We reached so many goals together with the music that, quite honestly, were far beyond what I ever hoped to achieve when I first got into this. It's impossible to really look at this as a fresh start now after all of these years. Musically speaking, I am sure it will change dramatically—but I think its just more of trip back to how we were both doing it before we got together than it is a fresh start.

"I do feel liberated from having to deliver something that people expected from Art Department as they knew it."

How do you see Art Department growing artistically moving forward as a solo act?
The split just gives me an opportunity to make more selfish decisions for Art Department when it comes to touring and scheduling. So, in short, making more time for myself to be in the studio is how I see myself and the project growing artistically. Basically, while living on the road and running the business of Art Department, more often than not I find myself looking outward and getting distracted by the media and all of the work behind the brand. Instead, I should be looking inwards, because this is where you go when you’re alone in the studio—and that’s where you need to go to grow.
Musically speaking, I'm not putting any tags or pressure on what I'm going to do. In what feels like the first time in a long time, I’m writing without the feeling that I have to deliver a particular sound that fits into this particular box that we've created for ourselves as a brand. If I outlined a vision for the sound of the project now, I would just be putting myself back into a box. In a way, I guess you could actually call that real growth because I do feel liberated from having to deliver something that people expected from Art Department as they knew it.

jonny white, 2Does the fact that you will continue under the Art Department name mark at least an intention to produce music that will bear some resemblance to your previous output?
I appreciate some people might feel that I have some kind of responsibility to deliver “Art Department–sounding” records if I'm going to carry on with it, but it's actually the opposite. There are no rules when it comes to this, or when it comes to being an artist. We worked very hard to build a brand, and I'm in a very privileged position now to take that platform and use it to promote and expose people to the stuff I'm more interested in right now. I think I'm also lucky to have a lot of people's trust when it comes to DJing at this stage in my career—so I'm hoping people are going to be open minded and really listen.

Regarding the split, why did the decision come now? After two albums, six year and a dozen EPs—including last year's Natural Selection—did you feel that the collaborative project had exhausted itself creatively?
No—I don't think we'd run out of ideas or anything because that would be difficult when you have two hyper-creative people working on something. Even if one’s “off,” the other can be contributing ideas. A mutual slump is a pretty depressing thought as a duo. It was really just time to explore our own solo productions again after five years working on this one project. Kenny was able to find the time to write a lot of cool music over the past couple of years that needs to come out. Releasing music as a duo is one thing, but writing on your own is an even more personal experience and inspired him to pursue other goals right now. It’s really just that simple.

You’ve just completed the Fabric 82 mix. Did you feel added pressure, given that it’s your first mix since Kenny’s departure?
fabric 82 art department jonny white
No. There are a couple of reasons why I don't feel that type of pressure when it comes to mixes…or production, I guess. One is because I have always compiled all of the Art Department mixes; it’s just part of how we evenly distributed the work load while touring the past five years so this isn't a new experience.
The other reason is because I'm not really bothered by public opinion. If people hated what I did with it, that is their prerogative and that’s okay with me. I'm just playing music I like. You have to have a thick skin in this business, and you need to be confident in what you're doing. If you start to worry about public opinion, which is really the only factor that would imply the “pressure," as you call it, you're going to become confused, unsure of yourself and then you're not going to deliver an honest mix, record or whatever it is you're working on. Once that happens…what’s the point?

Would you say the mix gives an accurate portrayal of where you plan to take Art Department?
I can't really say that, because I don't really plan a whole lot. I tend to change and evolve as a DJ quite frequently. It's always been a really natural cycle or evolution for me, and this is what has always kept me really inspired and interested in what I do. I'm always searching for new sounds, new music—and I can be very influenced by whatever I'm into at the moment. Stylistically, I can be so focused on something I'm interested in at one moment and something different the next—and that becomes very apparent in the music I'm playing at the time. Not only that, but this is just sort of a moment in time that I tried to capture with the mix, and also really took into account the style of music that I like to play at Fabric because I really wanted it to be representative of what I do and feel at the club. That doesn't really translate into "this is what I will do for the foreseeable future".

Besides the Fabric CD, what are your other immediate plans with Art Department, in a production, DJ and live sense?
As far as production goes, we're still releasing remix packages from the Natural Selection album throughout most of 2015—with mixes from Jamie Jones, Radio Slave, the Martinez Brothers, Soul Clap, Nitin, Maher Daniel, and Mathew Jonson still to come. So, aside from a remix or two, there won't be much new Art Department material to release. It's actually really great timing because it allows all of that material to breathe and for us to focus on Kenny's solo stuff —which is my label's and Kenny's number one priority at the moment. I'm launching three new record labels over summer as well, which is exciting—and that’s a ton of work so that is keeping me quite busy amid a crazy touring schedule. I'm just writing music at my own pace now, when I can be home, not really knowing if it will all be released as Art Department or not. But there is music being written—I’m just keeping it under my pillow for now.

After six years producing in a collaborative project, producing as a solo artist again must throw up some challenges. How much time do you spend in the studio—and how are you adapting to it?
To be honest, I can't say it really presents any challenges. I mean, if I was trying to write songs that sound like what we've been doing for the past five years, especially vocal stuff…then yeah, that would present a massive challenge because a lot of those ideas came from Kenny, and I can't fucking sing to save my life. But I'm not looking to replicate a sound that, quite frankly, cannot be duplicated without both of us. Right now, it just feels like freedom to make whatever I feel like making; I just haven't decided what I want the sound to be going forward and I'm not really trying to figure it out.

Outside of Art Department, do you intend to produce as a solo artist under a different moniker—or, going forward, will Art Department be your only solo project?
Actually, I currently release music under other monikers and have done for years—but I have never let anybody know it was me. The reason for the aliases had always been due to the fact that I write several different styles of music and didn't want to confuse any of the brands—especially Art Department’s. However, now that Art Department is just I, there might not really be any need for it.

You and Kenny will still be working together on certain projects, with his solo work being released on No.19 and the launch of the Social Experiment label. Do you foresee that either of you will have any input in each other’s solo work, or do you both keep the solo productions to yourselves?
We've been working together for so long and I don't think that will ever really change. I like to think that one of my strongest suits, possibly even more than my own production, is an ability to bring out the best in the artists I work with. Kenny is probably the most notable example of that. I have always been so interested in and inspired by his music that I'll always offer to work on anything he has going on, in whatever capacity he would like me to do so. We've always looked to each other for feedback on whatever we're doing individually, the way everyone does with their friends who are also artists—and I think that will remain the same for life.

"I’m not gonna roll through life scared to take risks."

Do you think that by continuing the project as a solo artist, there is a risk of damaging the legacy that the project has already left?
Sure, I guess so—but I don't think that either of us had thought of that at all until just now, so thanks for that. [laughs] Listen, whatever happens, happens—I’m not gonna roll through life scared to take risks; you do what you feel is right for you as long as you're not going to harm anyone but yourself in the process—and you must deal with the failure or the learning experience if it comes to that. I know some fans are going to be upset with the change, simply because they want you to stick with what they love already—but if people are willing to open their minds and really listen, rather than just wait for an opportunity to critique, there's an opportunity here for them to see what else I can offer as Art Department. I'm not about to turn commercial, or forget what good music is. I play underground records that are produced by some really talented, forward-thinking artists. If people lose interest in that, I would be okay with finding another career.

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Hi-Five: POPOF http://www.xlr8r.com/features/2015/07/hi-five-popof/ http://www.xlr8r.com/features/2015/07/hi-five-popof/#comments Mon, 06 Jul 2015 12:00:47 +0000 http://www.xlr8r.com/?p=94769 popof love somebody hot creationsHe's known for a hard-charging, tech-housey sound, but POPOF can do "intimate" as well as anyone—check out 2009's holding-hands-at-dawn track "Serenity" if you need proof. On his new album, Love Somebody (out now on Hot Creations), the man known to his pals as Alexandre Paounov has opted to go the warm 'n' cuddly route—the release's name kind of gives that away, we guess—via 11 vocal-heavy cuts of melodic amour that will likely garner more play in those back-to-mine moments than they will in the clubs. (Fear not, dancefloor fans: Lead-off single "Words Gone" featured remixes from Luciano, Marc Houle and Jamie Jones, while second single "Going Back" boasts versions from Eats Everything, Lee Foss, Oxia & Miss Kittin, and Luca Donzelli & Mar T.) With Love Somebody currently wending its way into the ears of fans of low-key electronics, we thought we'd ask POPOV to name us five of his most beloved long-players of all time—scroll down for his selections, a surprisingly diverse quintet of time-tested recordings.

Marvin Gaye

I Want You
Being a huge Marvin Gaye fan, I love most of his albums—and his 13th release, “I want you”, is for me a total success. While he was working on this one, he took inspiration from his second wife, and it can really be felt in the music. The lyric are so erotic, so sensual. Apparently, this album was very controversial—but it did greatly influence the disco, R&B and neo-soul genres.

The Prodigy
Always Outnumbered, Never Outgunned
For me, this one is the Prodigy’s best album, although they’re all good in my opinion! There are lots of interesting features, such as “Spitfire” with Juliette Lewis – it’s incredible. They made lots of awesome collaborations with numerous musicians—Princess Superstar and Kool Keith, among others.

Eddie Harris
Bad Luck is All I Have
The title track remains, for me, the best blues song of all time. The hypnotizing bassline, combined with Eddie Harris’ voice, is absolutely breathtaking from the beginning until the end. The song builds up in intensity, going crescendo, then ends with these backing vocals singing “bad luck is all I have”…it’s blues in its purest form.


The Last Resort
This album is for me one of the best of the last decade, in terms of electronic music. It mixes exoticism, eclectism, and melancholy to perfection. It’s simply beautiful. Songs like “Moan” or “Miss you” will remain etched in the history of electronic music.

Franz Ferdinand

Franz Ferdinand
I really like 
Franz Ferdinand 's first album because it oozes strength and energy. The songs are all super catchy; there’s not one I dislike. Great rock music mixed with new wave—I never get tired of it!

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RIP Charanjit Singh http://www.xlr8r.com/news/2015/07/rip-charanjit-singh/ http://www.xlr8r.com/news/2015/07/rip-charanjit-singh/#comments Mon, 06 Jul 2015 10:36:27 +0000 http://www.xlr8r.com/?p=94967 Indian electronic pioneer Charanjit Singh passed away in Mumbai over the weekend. Frequently invoked as the accidental inventor of acid house, Singh is best known for his Roland TB-303 experiments, which predated the rise of acid house in Chicago in the '80s. He most influential work, the 1982 album 10 Ragas to a Disco Beat, became a cult favorite when it was reissued in the 2000s, and was developed into a live show in 2010. At the time of Singh's death, he was preparing for a show in London and at work on an album of Indian folk music. (via The Wire)

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Hear a New Track from Huerco S. on Proibito http://www.xlr8r.com/news/2015/07/hear-a-new-track-from-huerco-s-on-proibito/ http://www.xlr8r.com/news/2015/07/hear-a-new-track-from-huerco-s-on-proibito/#comments Mon, 06 Jul 2015 09:24:15 +0000 http://www.xlr8r.com/?p=94962 Near the end of Friday's news cycle, Anthony Naples' Proibito label dropped word of a forthcoming record from former XLR8R podcast contributor Huerco S. The Brooklyn-based producer born Brian Leeds has been the most regular contributor on the imprint since it launched two years ago, appearing first as Royal Crown of Sweden and later as Huerco S. and H.S. Leeds. His new EP, Railroad Blues, is set to arrive on July 21, around the time the pair wind up a short tour of Japan. The record's complete tracklist can be found below, where a-side cut "Rushing to Paradise" is also streaming. (via Resident Advisor)

A1 Rushing To Paradise
A2 Marais Des Cygnes
B Transit V (See See Rider)

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AntiAlias "Self-Encounter" http://www.xlr8r.com/mp3/2015/07/antialias-somber-clarity/ http://www.xlr8r.com/mp3/2015/07/antialias-somber-clarity/#comments Fri, 03 Jul 2015 18:25:01 +0000 http://www.xlr8r.com/?p=94942 New Berlin-based label Schakal released its first EP, Somber Clarity, from label co-founder AntiAlias at the end of last month. The deep and dark two-tracker comprises of the title track and a remix from Midas 104 & Jonas Saalbach, who rework the rumbling bassline and dubby chords of the original into more melodic territory, providing a perfect accompaniment to the late-night original. In support of the release, AntiAlias has offered up "Self-Encounter," an equally deep and dubby cut with swelling pads, knife-edged synth lines, and club-ready beats. You can download "Encounter" for free below, with the EP available for purchase digitally here, and the vinyl arriving on July 6.


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Premiere: Hear a Track From Richy Ahmed's New EP for Strictly Rhythm http://www.xlr8r.com/news/2015/07/premiere-hear-a-track-from-richy-ahmeds-new-ep-for-strictly-rhythm/ http://www.xlr8r.com/news/2015/07/premiere-hear-a-track-from-richy-ahmeds-new-ep-for-strictly-rhythm/#comments Fri, 03 Jul 2015 16:29:36 +0000 http://www.xlr8r.com/?p=94933 Following on from his 2014 release on Lee Foss and Jamie Jones' Hot Creations label—the aptly titled Sneaky Acid—UK producer and DJ Richy Ahmed will release his latest EP, Can't See You, via internationally renowned imprint Strictly Rhythm.

Can't See You will be Richy's third EP and for the release, Richy was given the choice to remix any track from the entire Strictly Rhythm catalogue and the Paradise resident chose Logic’s 1990 classic "The Warning." Opening with his trademark driving percussion and a heavy, low-slung bassline, Richy refits the original vocal, interspersing it between rolling drum fills throughout the tracks run time.

Can't See You will see release on July 13, with Richy's remix of "The Warning" streaming in full below; along with his upcoming tour dates.

Tour Dates:
6 Jun - Parklife Festival, Manchester
7 Jun - Afterlife, Manchester
12 Jun - Music On @ Amnesia, Ibiza
18 Jun - Warehouse BCN, Barcelona
19 Jun - Edible Pets - KER Club, Barcelona
20 Jun - Goa29, Malaga
21 Jun - Singermorning Festival, Barcelona
28 Jun - Hideout Festival, Croatia
1 Jul - Paradise Opening @ DC-10, Ibiza
3 Jul - Showcase, Paris
10 Jul - Music On @ Amnesia, Ibiza
11 Jul - Electric Daisy Carnival, Milton Keynes
24 Jul - Tomorrowland, Belgium
1 Aug - Eastern Electrics, London
16 Aug - Sonus Festival, Croatia
28 Aug - Creamfields, UK
4 Sep - Music On @ Amnesia, Ibiza
12 Sep - The Social Festival, London
18 Sep - Edible Seasons, Bristol
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XLR8R Weekly Event Selections: Verboten, Outline Festival, Piknic Electronik http://www.xlr8r.com/news/2015/07/xlr8r-weekly-event-selections-verboten-outline-festival-piknic-electronik/ http://www.xlr8r.com/news/2015/07/xlr8r-weekly-event-selections-verboten-outline-festival-piknic-electronik/#comments Fri, 03 Jul 2015 16:00:08 +0000 http://www.xlr8r.com/?p=94851 This holiday weekend, XLR8R would like you to experience only the finest of events that are taking place over this great party landscape we call earth.

Tomorrow night kicks off a huge list of events to get the weekend started right: Verboten in NYC will launch a Summer series with their new party, StageONE. The lineup will included a massive array of artists including Sasha, Guti (live), Joris Voorn, and Agoria. On the West Coast of the US, Rødhåd will be making his debut with Droid Behavior at Lot 613 in Los Angeles.

Saturday will be a celebration of all things music and dance, with PARADOX & HOUSE OF CHI presenting their first boat party of the summer on the most festive day of the year, July 4TH 2015. Inxec will headline the party in Chicago with supporting act Mia Wallace.  Also on Saturday, The Cityfox Experience will have their season opener for The Brooklyn Mirage, a new outdoor & indoor, day & night event space in East Williamsburg. The lineup is completely stacked with some of the best names in dance music, including Tale Of Us, M.A.N.D.Y. (Philipp Jung), Patlac, Mike Khoury, and Deep Jesus.

Finally, the weekend will come to a strong close on Sunday as Piknic Electronik starts off its July program with a disco and house lineup that would send chills down even the most seasoned Sunday swinger's spine. The lineup on the Moog Audio stage includes Jesse Rose, Chez Damier, and Guily. If you are in NYC you're looking for an afterhours party that spills over from Saturday night into Sunday afternoon, check out Bushwick A/V Independence Day Sunday After Afters. The party runs all night Saturday and goes until Sunday at 2pm. RSVP on the event page for more information.

Have a great holiday weekend from all of us here at XLR8R. See you on the dance floor.



Verboten StageONE presents Last Day On Earth: Sasha / Scuba / Guti [live] / Agoria / Joris Voorn + More

Unnamed Venue - Brooklyn, NY, US

Dark Disco on The Roof | White Material: Galcher Lustwerk/ Young Male/ DJ Richard/ Morgan Louis/ Alvin Aronson

Output - Brooklyn, NY, US

Movinroots Showcase @ TBA Brooklyn

TBA Brooklyn - Brooklyn, NY, US


Flash - Washington, DC, US

Prototype 011: Droid Behavior - Prime: Rødhåd, DJ Hyperactive, Subversive at Lot 613

LOT 613 - Los Angeles, CA, US

Prototype 011: Droid Behavior - Prime: Rødhåd, DJ Hyperactive, Subversive at Lot 613

LOT 613 - Los Angeles, CA, US

DOOMSNIGHT w/ Adam X, Savas Pascalidis, Jon Hester, Nathan Jones, RSCH 14 & Costelloe

Arena Club - Berlin, Germany

...Get Perlonized

Berghain/Panorama Bar - Berlin, Germany


Outline festival

Outline Festival 2015

KMZ - Moscow, Russian Federation

Bushwick A/V & SOUP NYC Independence Day 24 Hour Marathon 7.4-7.5


Rhondesia: 4th of July

Skybar at the Mondrian - West Hollywood, CA, US

The CityFox Experience: July 4 at The Brooklyn Mirage (season opener)

The Brooklyn Mirage - Brooklyn, NY, US

Paradox & House of CHI present: Inxec (UK) with MIA Wallace & HXH



Flash - Washington, DC, US

The Black Lodge - INTERDEPENDENCE DAY (w/Derek Michael (Detund/Droid), Sage Caswell (Archie Pelago), Run Run Shaw, Force Placement, and kosmik)

Hyperion Tavern - Los Angeles, CA, US

Prototype 012: Scuba, Radio Slave, and Plastic Love at LOT 613

LOT 613 - Los Angeles, CA, US


Unnamed Venue - New York, NY, US

FABRICLIVE 3/7 Hessle Audio with Special Guest Surgeon & Hoya:Hoya

fabric - London, London, United Kingdom


Berghain/Panorama Bar - Berlin, Germany


Piknic Electronik logo big

Piknic Electronik Montreal - July

Parc Jean-Drapeau - Montreal, QC, Canada

Bushwick A/V Independence Day Sunday After Afters 7.5

Secret Loft Location - Brooklyn, NY, US

Sundays on The Roof | Touch of Class: DJ Three/ Signal Flow/ Pattern Drama/ Kelly Kellam

Output - Brooklyn, NY, US


Flash - Washington, DC, US

Chris Liebing at Output

Output - Brooklyn, NY, US
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Verboten Launches StageONE Festival Feat. Sasha, Scuba, Guti, Joris Voorn http://www.xlr8r.com/news/2015/07/verboten-launches-stageone-festival-feat-sasha-scuba-guti-joris-voorn/ http://www.xlr8r.com/news/2015/07/verboten-launches-stageone-festival-feat-sasha-scuba-guti-joris-voorn/#comments Fri, 03 Jul 2015 15:00:26 +0000 http://www.xlr8r.com/?p=94734 Verboten is set to kick off New York’s outdoor summer party season with their first StageONE party of the year. The lineups will feature Sasha, Scuba, Guti (live), Agoria, Kate Simko, Brad Miller and special guest Joris Voorn. In addition to bringing world class underground electronic music talent to the beautiful Williamsburg waterfront, StageONE also features a plethora of top quality food, art, sound and lighting to make for one memorable Fourth of July weekend.

The event will feature a special art installation by Dizmology, and performances by artist Muffinhead, with his troupe of interactive costumed performers. StageONE’s sound system will be provided by D3 Audio, providing the clearest, cleanest, quality sound. The series is produced with the support of New York City Department of Parks & Recreation and Open Space Alliance for North Brooklyn (OSA). Proceeds from the concert series will be used to help maintain, activate, and further develop the Park.

Check out the full series lineup below and get tickets and more information about Verboten by clicking here.

StageONE Full Lineup


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Aphex Twin Releases First AFX Vinyl In Almost Ten Years http://www.xlr8r.com/news/2015/07/aphex-twin-releases-first-afx-vinyl-in-almost-ten-years/ http://www.xlr8r.com/news/2015/07/aphex-twin-releases-first-afx-vinyl-in-almost-ten-years/#comments Fri, 03 Jul 2015 12:00:03 +0000 http://www.xlr8r.com/?p=94886 AFX / orphaned deejay selek 2006-2008 / Warp / WAP384CDD / August 2015

Aphex Twin (a.k.a Richard D. James), returns to his AFX moniker this August for his first vinyl release since the Warpmart exclusive of a shared record between AFX and LFO in September of 2005. That record was limited to 2000 copies, and Richard hasn't released any vinyl records under this guise since unloading 11 editions of Analord on Rephlex Records that same year. Now AFX is back, and this time, the record will see release on Bleep.com. orphaned deejay selek 2006-2008 is available for pre-order via Bleep, the British online independant music sector of Warp.

You can listen to the song 'serge fenix Rendered 2' for free on the Bleep website, and get an instant download of the song when you pre-order the release. The new release will come in a couple of different formats, including vinyl, CD, and .FLAC.

We discovered a playlist of the album by digging around on the Warp Records website. You can check out what we found by clicking here.

  • AFX - serge fenix Rendered 2
  • AFX - dmx acid test
  • AFX - oberheim blacet1b
  • AFX - bonus EMT beats
  • AFX - simple slamming b 2
  • AFX - midi pipe1c sds3time cube/klonedrm
  • AFX - r8m neotek beat

With a full release date of August 21st, you can bet that this record will be in demand and will likely sell out of stock quickly. Buy a pre-order copy now on the Bleep website by clicking here.

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Premiere: Stream Prins Thomas Remix of New Track From Amirali http://www.xlr8r.com/news/2015/07/premiere-stream-a-new-track-from-amirali-ep-on-dark-matters/ http://www.xlr8r.com/news/2015/07/premiere-stream-a-new-track-from-amirali-ep-on-dark-matters/#comments Fri, 03 Jul 2015 01:52:13 +0000 http://www.xlr8r.com/?p=94887 Dark Matters is a record label and visual project created by Amirali. As an unknown songwriter and producer, Amirali first shot to prominence with his inaugural release on Crosstown Rebels. He has since toured the globe promoting his particular concoction of avant-garde electronica, techno and house. An extension of his broad musical palette, the label will be running in conjunction with a series of curated parties beginning in October in London.

The events will centre around a combination of sound and visuals that express the dark and psychedelic concept behind the label. The crowd will be enveloped by installations, each event will be a collaboration between an art collective and or arts students, keeping the ideas and approach at the forefront of London’s creative scene.

Dark Matters kicks off with the Fearful Stay EP from label boss Amirali.

Fearful Stay EP will be released on vinyl on July 6 and digitally on the August 3. The melodic complexities and hypnotic vocals in Amirali’s original mix are re-worked, securing this EP as a confident and stunning debut.

The EP features a re-work from future label mate Aboutface and also a remix from Prins Thomas, which can be streamed in full below.

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Stream Agoria's Full Set from Awakenings 2015 http://www.xlr8r.com/news/2015/07/stream-agorias-full-set-from-awakenings-2015/ http://www.xlr8r.com/news/2015/07/stream-agorias-full-set-from-awakenings-2015/#comments Fri, 03 Jul 2015 01:31:18 +0000 http://www.xlr8r.com/?p=94878 Agoria (born Sébastien Devaud) is one of the most widely respected electronic music artists in the world today, revered for both the quality of his productions and ability behind the decks.

His latest set, recorded in Amsterdam at Awakenings 2015, can be streamed in full below.  Included within are upcoming releases from Maceo Plex and himself.


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Studio 80 Celebrates 10 Years http://www.xlr8r.com/news/2015/07/studio-80-celebrate-10-years/ http://www.xlr8r.com/news/2015/07/studio-80-celebrate-10-years/#comments Fri, 03 Jul 2015 01:23:00 +0000 http://www.xlr8r.com/?p=94877 Kicking off today, Amsterdam's Studio 80 will celebrate 10 years with a 10-day program featuring performances by residents and international guests.

The programming will be a reflection of the past year and a preview of things to come. The 10 year celebration will feature performances by Helena Hauff, Eric Cloutier, Young Marco, Marcel Vogel, Lovefingers, Tevo Howard, Boris Werner, and DeNiro, among others.

You can check out the full program below, which runs until July 11.


02 - 07 (23:00 - 03:45)
03 - 07 (23:00 - END)
04 - 07 (23:00 - END)
05 - 07 (14:00 - somewhere in the evening)

06 + 07 - 07 (11:00 - 11:00) broadcasted via http://radio.studio-80.nl/

08 - 07 (21:00 - 03:45)

09 - 07 (23:00 - 03:45)
10 - 07 (23:00 - END)
11 - 07 (23:00 - END)

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Premiere: Hear an Exclusive Mix From Truncate http://www.xlr8r.com/news/2015/07/premiere-hear-an-exclusive-mix-from-truncate/ http://www.xlr8r.com/news/2015/07/premiere-hear-an-exclusive-mix-from-truncate/#comments Thu, 02 Jul 2015 21:01:58 +0000 http://www.xlr8r.com/?p=94760 LA-based DJ and producer David Flores (a.k.a. Audio Injection) kicked off his Truncate moniker back in 2011 to focus on "the deeper, more raw side of techno," with his releases receiving support from some of techno's biggest artists, including Modeselektor, Ben Klock, Marcel Dettmann, and Len Faki.

Ahead of his performance at Croatia's Dimensions Festival—where he'll play alongside Juan Atkins, Underground Resistance, Âme, Boddika, and Four Tet—Truncate has supplied us with an exclusive, hour-long mix of hip-hop, house, slamming techno and low-fi oddities, which you can hear in full below.

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TOYS "Golden Line (A Theory Remix)" http://www.xlr8r.com/mp3/2015/07/toys-golden-line-a-theory-remix/ http://www.xlr8r.com/mp3/2015/07/toys-golden-line-a-theory-remix/#comments Thu, 02 Jul 2015 19:46:31 +0000 http://www.xlr8r.com/?p=94755 Parisians electronic duo Paul Prier and Bastien Doremus (a.k.a. TOYS) released the Golden Line EP on Fairtrack/Caroline last April. Puling inspiration from Space, Kevin Saunderson, Pink Floyd, and Jay Dee, the pair fuse pop elements with synthesizers, hip-hop and house. Featured on a deluxe edition of the EP is British producer A Theory's remix of "Golden Line." Opening with floating, ethereal pads, A Theory keeps the original vocals front and center, laying them smoothly on top of a bed of deep, throbbing bass and a plethora of synth stabs and muted, loose percussion. The deluxe version of Golden Line is available here, with A Theory's remix available for free below.

Golden Line (A Theory Remix)


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DJ EZ, Tom Trago, San Soda, and Marcellus Pittman Finalize HORST Lineup http://www.xlr8r.com/news/2015/07/dj-ez-tom-trago-san-soda-and-marcellus-pittman-finalize-horst-lineup/ http://www.xlr8r.com/news/2015/07/dj-ez-tom-trago-san-soda-and-marcellus-pittman-finalize-horst-lineup/#comments Thu, 02 Jul 2015 18:27:46 +0000 http://www.xlr8r.com/?p=94779 Arts and music festival HORST has announced its final lineup for the 2015 edition, with DJ EZ, Tom Trago, San Soda, Marcellus Pittman, Hashman Deejay, and Innershades joining the already bulging list of artists.

HORST has also added to the bill a list of names to the arts program, including visual artist Filip Durjardin, who creates fictional reconstructions of existing projects; 88888, a collaboration between engineer/architects Karel Burssens (1984) and Jeroen Verrecht (1984); animation artist Alexandra Crouwers; and Trouw's light artist Meeus van Dis.

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


• DJ EZ • Marcellus Pittman • Tom Trago • San Soda • Benji B • Job Jobse • Tama Sumo b2b Lakuti • Palms Trax – Live • Jeremy Underground • Midland • Lapalux - Live • Gerd Janson • Oneman • Drew Lustman aka FaltyDL • Romare – live • Nickodemus • Throwing Snow - live • Sinjin Hawke b2b Zora Jones • Glenn Astro • Hashman Deejay • Innershades • Dayfly • Kiani & His Legion • Exalt b2b Eklektiker • Robbrecht & Daem • Lefto • YellowStraps – live • Sokoto • Poldoore • LTGL


• GijsVanVaerenbergh (head curator) • Robbrecht & Daem (artists) • Kaspar Hamacher (artist) • Lodewijk Heylen (artist) • Children of the Light (artist) • Filip Dujardin • Alexandra Crouwels • 88888 • Meeus van Dis • Wim Goossens & Arnaud Hendrickx • Koen Sels


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Roland Releases Driftbox-R Limited http://www.xlr8r.com/news/2015/07/roland-releases-driftbox-r-limited/ http://www.xlr8r.com/news/2015/07/roland-releases-driftbox-r-limited/#comments Thu, 02 Jul 2015 17:32:49 +0000 http://www.xlr8r.com/?p=94817 Roland has just dropped another synth: the short-run Driftbox-R Limited.

Looking very much in line with the companies AIRA line, the Driftbox-R Limited first surfaced as a small-format synth from Japanese manufacturer Reon (according to Resident Advisor). The Driftbox-R Limited is an updated, limited-edition version of the original Reon Driftbox, with AIRA styling. Features include two VCOs, VCF, Envelope Generator, and CV/Gate I/O, and is available now over at Sweetwater for $499.

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Nina Kraviz Issues Vinyl Re-Press of Pain In The Ass on Rekids http://www.xlr8r.com/news/2015/07/nina-kraviz-issues-vinyl-re-press-of-pain-in-the-ass-on-rekids/ http://www.xlr8r.com/news/2015/07/nina-kraviz-issues-vinyl-re-press-of-pain-in-the-ass-on-rekids/#comments Thu, 02 Jul 2015 17:00:07 +0000 http://www.xlr8r.com/?p=94782 Nina Kraviz has issued a repress of her 2009 tech-house EP, Pain In The Ass, on Radio Slave's UK record label, Rekids. The tracks have the instantly recognizable flavor of Kraviz sexy vocals, with the title track employing a deep and minimal beat with chirping high-hats. The B side is equally rooted in silky vocab, with a driving minimal drum set that taps and pushes towards psychedelic chants and deep house euphoria. With poetry like this, it is easy to see why everyone was paying attention to this record when it first came out.

The cheapest price on Discogs for a "near-mint" condition copy of this record goes for $50.12, but the repress is available today for only $8.78 plus shipping. There was a repress of this record back in 2012, but the stock was instantly off the shelves and actually drove up the resale price on-line, much to the dismay of listeners who waited 3 years for the last repress. With a recent set at Awakenings 2015, and a new Boiler Room set live from Scotland last week, it's probably best to grab this record while it is still available.

To purchase a copy of the EP, you can visit the Juno Records website by clicking here.

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Serge Devant The Way You Move EP http://www.xlr8r.com/reviews/2015/07/serge-devant-the-way-you-move-ep/ http://www.xlr8r.com/reviews/2015/07/serge-devant-the-way-you-move-ep/#comments Thu, 02 Jul 2015 13:00:39 +0000 http://www.xlr8r.com/?p=94754 Following up his and Damiano's "Fearing Love" on Jamie Jones and Lee Foss’s new Emerald City label, Serge Devant comes back strong with the hypnotic three-track The Way You Move EP on Crosstown Rebels' Rebellion imprint. The inspiration for this set of songs came from a recent trip the Brooklyn-based Devant made to Thailand, where he captured field recordings ranging from the sounds of a gong meditation ceremony to rainfall in the jungle—those sounds are incorporated throughout much of the release, and find Devant summoning an enchanting vibe. The title track sets a sexy after-hours mood with a dark and slinky rhythm built around a loose 808 work-out and mesmerizing vocal sample; Audiofly offer a tougher take on the track with their remix, while “Intentions” closes out the release with a delicate and sublime groove.

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Q&A: Groove Armada Release Little Black Book http://www.xlr8r.com/features/2015/07/qa-groove-armada-release-little-black-book/ http://www.xlr8r.com/features/2015/07/qa-groove-armada-release-little-black-book/#comments Thu, 02 Jul 2015 12:44:28 +0000 http://www.xlr8r.com/?p=94718 Eight studio albums, scores of acclaimed EPs, and multiple sold-out world tours: Tom Findlay and Andy Cato have come a long way since they first started producing music together in the mid-'90s. Originally a series of club nights across London, Groove Armada has grown from a project based in Cato’s London studio to one of planet’s leading electronic music acts, a dramatic rise showcased by their 2010 tour which saw them sell out arenas across the globe.

Since then, Findlay and Cato have taken a dramatic change of course. Gone are the live bands and full-length albums, replaced instead with DJ sets, Ibiza residences and smaller EPs, a conscious move founded upon a desire to return to their musical roots of free parties and quality house music.

Up next for the pair is Little Black Book, a two-disc mix-CD/compilation coming out on Jaymo and Andy George’s Moda Black label. While disc one consists only of original music and remixes, including seven exclusive tunes, disc two features remixes of their music by others, including Huxley, PillowTalk and Joris Voorn. In advance of its July 10 release, XLR8R sat down with Cato and Findlay to hear the motivations and processes behind the new release, and reflect on Groove Armada’s remarkable journey to date.

Let’s talk about the new album, Little Black Book. How did it come about, and what were the inspirations behind it?

Flyer from one of Groove Armada's original parties

Flyer from one of Groove Armada's original parties

Andy Cato: The story can be traced back to 2010, which was the last show we played with the live band. We finished off with two nights in Brixton, our spiritual home—and that brought this long 15-year chapter to an end. From that moment, we decided that we wanted to return to our roots, go back to house music and the very basics—because this free-party, house-music ethos is where we came from. It took a while to sort that out because the booking requests we were receiving were quite big-stagey things, which was the wrong context for what we were looking to do. We started to put EPs out in the right places and then, through these more house-orientated releases, we found ourselves with a lot of music and the right kind of gigs.
Following this, the guys at Moda Black approached us with the idea of a mix, and it was initially going to be a kind of retrospective look at all our house stuff, but we just got in a roll in the studio and produced enough material for a new album. The obvious option was to sign with a major, to get the band back and all that stuff, but we were determined to stay true to our roots and stick with house music—and that’s how this release on Moda came about. It’s that simple—there is no bigger agenda than that.

Little Black Book contains seven new Groove Armada tracks. Can you tell us about the production process behind this new material?

Tom Findlay: We went into the studio, thinking it would be easy, but then when we realized something was going to come out of it, we started giving it a much creative focus as we could. We thought we’d go in the studio, just grab some nice tunes we’d done before and mix them together, but you always want to make it the best you can. So when we started focusing on it, we were inspired to write new material and, all of a sudden, we had new song after new song.

Cato: It’s the same with most of our productions. There has been a constant theme in all of our work where we think it’s going to be easy—and then once we unleash the machine, we both have this mad perfectionism which means we won’t let anything lie until the music is perfect, and we’ve been through every bloody photograph to create the booklet. There has always been a complete commitment to our version of quality.
The classic example of this is with the live show. The live show basically took over everything, but a lot of it went unrecorded because the gigs changed all the time—you were there or you weren’t. But before the very last gig, after 15 years of touring, we still called an early sound check in the afternoon and we were tweaking hi-hat levels and everything.

How long did Little Black Book take to produce?

Findlay: It’s been about 18 months from our first conversations together. In the studio, it was all done around November, December, and January— we’ve absolutely churned it out.

You’ve got a nicely eclectic array of remixers involved on the second disc of the album. How did you choose them?

Findlay: We both had a whole bunch of ideas, but for this we’ve got to give credit to Moda— and that’s one of the reasons we’re glad we went ahead and did the project with them. They had strong feelings about how they wanted that side of the album to be, and it sounds great.

Since the releases of Black Light and White Light in 2010, you've released a number of EPs—but this is your first full length release since then. Why the radio silence…and why now, five years on?

Cato: Having finished the live stuff, getting back down to the DJ thing was actually trickier than we thought. We were trapped in the big-stage world and it was difficult to escape. Groove Armada means different things to different people, and it’s taken a while to get back to this point. We’ve always DJed; we’ve been residents at Space Ibiza for 15 years and we’ve always done the house thing, but we'd lost that side of us, and it was a long road to returning to play house music in places where you can play house music.

Can you just explain the reasons why you wanted to return to your house roots?

Findlay: Around the Black Light touring bit, there was a sense that we were always playing on the main stage of a dance tent; we were always doing the same slots, coming on after Laidback Luke or Calvin Harris, and it wasn’t really the scene that we wanted to be part of. At the end, we did the two nights in Brixton and it just felt like that was the right time to close that chapter—it was a great way to end, right at the top. The music was all sounding great, but that big electronic scene was not where our heads were at. Instead, we felt the need to go back to what we had always done—and we decided to go that way, playing nice house sets, having a good time, rather than pushing this large EDM–size stone.

You don’t think you’ll ever return to that scene?

Findlay: The live stuff was amazing and there is definitely a temptation to revisit that—but there is also the sense that, having left it at the peak, we don’t want to go back there. It’s never going to be better than those last two shows at Brixton.

Cato: I think the context has changed. There is a recording of the last night at Brixton and it sounds amazing—we spent 15 years getting it right so it should. But that combination of live music and electronics was pretty unique, and for 12 of the 15 years that we were doing it, there was a tolerance for it on the biggest stages at Coachella and Glastonbury, and on the other big dance stages across the world. However, towards the end of that period, there was a quite rapid shift to where there was no tolerance for a drum kit and bass, etc., with electronic music.

"We were playing great live dance music, and it just wasn’t working. Andy I stood there thinking that if we had three records right now, we could get everyone going mental with their arms in their air."

Findlay: We remember doing a gig at the Winter Music Conference in Miami and that felt like the end of this scene. We were playing great live dance music, and it just wasn’t working. Andy I stood there thinking that if we had three records right now, we could get everyone going mental with their arms in their air—because that’s what they wanted.

Cato: That was the time we realized we had to draw it to a close. Arguably, we could have revved it up and had bigger drops, but we had no interest in that at all.

Considering the length of your discography, it must have been hard to limit the material on the release. How did you approach the album, and how did you determine the final track-listing?

Findlay: We did have a lot—but we knew that all the material we were going to use was going to be post–Black Light. We wanted it to be all new compositions by us from over the past five years, so, there wasn’t a whole load of material.

Cato: We didn’t want it to be a retrospective look of the whole Groove Armada catalog. We wanted it to be all about the now, and the house—already, that was a starting point. However, it did change, because originally we put a playlist together and there was about an hour and a half of post-2010 house music, and we thought about doing a mix of that. But that felt a bit yesterday for us, and in the process of putting it together, we ended up with some new tunes and it just slowly took the form it did. It was very spontaneous.

Where were the original tracks recorded?

Findlay: We actually work separately now. I am based in Stoke Newington, and Andy is in Toulouse, so most of the stuff is mixed in his “cowshed” in the French Pyrenees. We send stuff back and forth, and it just comes together.

Why did you decide to go for a mix format instead of a new LP?

Groove ArmadaFindlay: Looking at what we are doing gig-wise, with the shows we are doing in Ibiza and the residency at Fabric, this is the world we are in now. We want to make music that fits with that, so making little EPs for dance labels and mix albums feels like the right thing to do. I think that if we did ever bring the live band back, then we would have to reimagine it all—but for now this mix format is what works.

Cato: This is house music, and so to have a ten-track house album that goes from beginning to end on Sony would be pointless. But the fact that you can mix it means all kinds of things happen as the tracks blend together—so I don’t think there was really an option to do it any other way. We are not trying to get on Radio 1 or become pop stars; we are trying to put out music that we’re playing that is going off and sounds great.

And that’s why you chose Moda Black, instead of some major label?

Cato: Exactly. When you make music, you want people to listen to it and be into it. By putting it out on Moda Black, the people who are going to hear it are people who are going to like it, so it was a pretty simple decision.

Do you have plans to re-enter the studio to complete a regular full-length LP any time soon?

Findlay: Certainly if we took the live band out again, we would then write music that would be more fitting for a full length LP. We could probably squeeze an EP out, but I think an LP would probably be a bit beyond us.

Cato: I could imagine doing a non-dancefloor album, but right now it seems a long way off. You look at the gigs we have in the diary, and we know that we can go there and play the house music that we’ve always loved. It’s like a huge circle has gone round, from the free parties of the ’90s to where we are now.

Findlay: That’s been the really nice thing of the last five years —the EDM thing is doing its thing, but it is a very specific audience. But the house thing is more widely accepted nowadays: The kids today are getting into it more, and when we’re onstage we don’t feel the need to play any filth. We can just play nice house music—we have to work it a little bit, manufacturing a few more drops to add some energy, but we don’t have to play crap.

Over the years, the sound Groove Armada has evolved a lot—do you feel most comfortable in the house scene?

"Closing the main stage at Glastonbury is an incredible thing to do, and I am happy we did it, but that wasn’t what we envisaged."

Cato: I’m not too sure. On all the vast variety of music that has been made over all the different albums over the years, I think it sounds great—I think we’ve acquitted ourselves well in all of the fields that we’ve gone into. But the way that the cycle has gone, we are now back in a world where this type of house groove is so engrained in us, and we have always spent a lot of time on dance floors and after-parties, so it just feels natural.

Throughout your career, you've blurred the line between the underground and the mainstream, with four studio albums in the Top 50. Was this by intent, or did it just happen?

Findlay: It’s funny, because there is definitely a full circle-ness about it. We really did start off in the music we’re making now, putting records out with labels like Tummy Touch. This feels natural now, what we’re doing today and the rest of it—but what happened in between seems like a big mad dream now. It’s a really great dream, but it was never the plan; the plan was always just two mates getting in the studio making music that we like. That’s still the plan today, but we’re just in different studios. Closing the main stage at Glastonbury is an incredible thing to do, and I am happy we did it, but that wasn’t what we envisaged.

Looking back now, are you surprised by the band’s success?

Findlay: We could never have anticipated that, and I still find it very surprising—just because there are so many people who want to make music for a career, and we did it. Sometimes it feels like someone else’s life.

Do you ever afford yourself the time to look back at all you’ve achieved, or do you try to look forward?

Findlay: I think I give myself more time too look back now…but I wish I could remember more about it. I just don’t have a great memory.

Cato: I think it’s impossible to remember it all. Looking through the photos in the Little Black Book booklet, it stirs up the deeper recesses of the mind, and it’s very saddening that that moment is gone. You can never go back to those moments, and there is this incredible sense of nostalgia now. It’s tough to look back—but that was then, and this is now. We’ve got to move forward because the moment has gone, and the memory is nothing more than a shadow.

Has there ever been a point over the course of your careers where you have struggled for motivation?

Findlay: With the live show, not at all. You are with this group of people who you adore, but all of them are looking at you to bring your best to the show. We used to have late nights and parties, but there was always this obsession to make the gigs as good as they could be. We used to make our sound guys mad, doing four hour sound checks and all that. When you’re putting on a rock band, it’s going to sound okay, even if the sound is a little off—but with the live dance stuff there is no room for error. It’s so important to find that balance.

When did you realize Groove Armada was going to be a success? Was there a specific moment?

Cato: For me, it was the Glastonbury moment. Following the release of "At the River," when Zoë Ball was playing it on the Radio 1 Breakfast Show, we got the opportunity to play the Jazz World Stage at 1.30am. We had decided from the very beginning that we wanted to play dance music live, and so we put this band together, thinking that nobody was going to be there. But it was amazing—crowds of people just started to arrive from all over the place to see us. It was just incredible…a real "oh shit" moment.

Findlay: Yes, it was that summer. "I See You Baby" came out, and then Fatboy Slim remixed it. That was when it felt like we had a lot of momentum which we could either ride or go underground. We sort of went with it, and it was absolutely ridiculous.

Cato: We had A&R men coming up to us all the time, asking where the next "I See You Baby" was. To our credit, I don't think we ever did that —we came across other things, like "Superstylin'," but we stopped that agenda. We just wanted to make tunes that we thought sounded great.

Findlay: Even "Superstylin'"came out of us playing in the third room of Fabric, from a real underground house record. It started at 3am in Fabric, and we worked on it and worked on it for six or seven months in this studio, and it got better. But it’s roots were in a 3am session in Fabric.

You mentioned "At the River," which was a pretty big turning point in your career. What impact do you think its 1997 release had on your success?

Cato: When we finished the tune, we were in Yorkshire Dales because we had been told to go away for a week and come back with an album. It felt like a really easy thing to do at the time. We basically had nothing in the studio, and the trombone was recorded using a hi-fi speaker from the country cottage because we had no microphone with us. I had my trombone because I was practicing for some jazz gig—it was a ridiculous coincidence. But when we had that tune finished, when we left to drive back, we both had DAT tapes as a recognition of that tune.

Findlay: When I listen back to it now, it’s a tune that I don’t really associate with me. I don’t remember any part of writing it; it just feels like that song was in my head and I just plucked it. It feels odd; it doesn’t feel part of us, but it was definitely the one that popped. I crashed my car on the way to getting it mastered!

Cato: I remember playing it in the Jazz Cafe, and Zoë [Ball] and Norman [Cook] were there. I dedicated it to her playing it on the breakfast show, and it was terribly fragile era where the stage was full of wires, and the whole thing went down. At the time, it felt like the end of everything.

Groove Armada's path can be traced back to when you guys were introduced by Andy’s wife, right?

Findlay: I went to school with Andy’s now-wife…a long time ago. I had been in bands for a long time, but it was only ever in the enthusiastic kind of way. Even today, it seems ridiculous to me that I am doing this for a living, even now. I used to just go up to Andy’s house and make music. Andy had lots of other stuff going on at the time, but slowly, through a random series of events, it all came together. "At The River" happened, then Rob Da Bank got involved, who was writing for Muzik magazine ‚and through random events, it just grew.

"There has been a common thread of honesty through everything that we’ve done."

Artists come and go, but it seems like your success has been almost never-ending. Do you attribute that to your ability to reinvent your sound?

Cato: Perhaps, but it hasn’t been as conscious as that. It’s easy to sound smug here, but to give you an example: We could have just revved up the band again and taken on six-figure fees, but we didn’t because we didn’t want to. There has been a common thread of honesty through everything that we’ve done, the way our crew has always remained the same, and the way we’ll play a sell-out show to thousands in Australia and then play at someone’s house afterwards.

Findlay: We’ve always had this authenticity. Once you start doing things to make something work, when it doesn’t feel like you, then you’re in trouble. You’ve got to focus on what you want to do.

You talk about making these decisions, and focusing on what you want to do. But do you feel you’ve made any bad decisions over the course of your career?

Findlay: There’s nothing that springs to mind, but one thing I would say is that we’ve always been good at making things out of adversity. I remember doing the album Lovebox, and we had just been abandoned by the label—but out of that album came the festival, and that sort of changed the perception of us. Right at our lowest moment, we came back with our biggest punch.

Cato: At the beginning, there were lots of mistakes, like PR wise. We were hopelessly naive. We were just being honest, without playing games, Ultimately, what we’ve ended up with is fine, so perhaps they weren’t mistakes.

What do you have coming up?

Findlay: There’s going to be a 20-year anniversary soon, which is quite remarkable—so we need to find some sort of appropriate celebration for that. It may just be one messy night out, but who knows? It’s just  amazing to have done two decades in dance!

Little Black Book is out July 10 on Moda Black.

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Project: Mooncircle Set to Release New Nuage EP http://www.xlr8r.com/news/2015/07/projectmooncircle-set-to-release-new-nuage-ep/ http://www.xlr8r.com/news/2015/07/projectmooncircle-set-to-release-new-nuage-ep/#comments Thu, 02 Jul 2015 10:43:11 +0000 http://www.xlr8r.com/?p=94796 Project:Mooncircle is set the release Neida EP, the beautiful new release from Nuage which features eight floaty, mysterious and elegant songs.

Inspired by a long lost tale from dark and cold northern lands, Neida is the story of a young boy who one day noticed an eerie call, so peculiar and odd that he could not resist but to follow it.

While it resonated through remnants of ancient settlings, the boy had to overcome many obstacles and solve numerous quests, journey through mystical forests, foggy mountains and ghostly villages, battle the forces of nature and lose himself in this adventure. Finally reaching the ocean after an exhausting voyage, a mysterious invisible force drew him closer and closer to it, suddenly entranced in a state between consciousness, floating underwater, lured by the siren of the sea.

Neida comes out worldwide, via limited vinyl (including download code), on August 18.

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Modular Synthesizer Film I Dream Of Wires to be Released at the End of the Month http://www.xlr8r.com/news/2015/07/modular-synthesizer-film-i-dream-of-wires-to-be-released-at-the-end-of-the-month/ http://www.xlr8r.com/news/2015/07/modular-synthesizer-film-i-dream-of-wires-to-be-released-at-the-end-of-the-month/#comments Wed, 01 Jul 2015 20:07:55 +0000 http://www.xlr8r.com/?p=94723 Independent documentary I Dream Of Wires traces the history, demise, and eventually rebirth of one of the most influential machines in electronic music: the modular synthesizer. The film will be released on DVD in July and digitally August—with a world premiere in Berlin on July 28.

I Dream Of Wires explores the early development of modular synthesizers in the '60s, the 1970s heyday, its almost extinction in the '80s, and the phenomenal resurgence in modern day electronic music. Interviewing artists such as Carl Craig, James Holden, Jimmy Edgar, and Trent Reznor, filmmakers Robert Fattinatto and Jason Amm provide great insight into the mindset and studios of some of electronic music's modular masters.

I Dream Of Wires will be released on DVD on July 31 via Cargo Distribution and Amazon, and digitally on August 10 via iTunes and Vimeo On Demand.

I Dream Of Wires 2014 documentary Trailer - Official from I Dream Of Wires on Vimeo.

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Premiere: Hear a Track From Anja Schneider's Latest EP http://www.xlr8r.com/news/2015/07/premiere-hear-a-track-from-anja-schneiders-latest-ep/ http://www.xlr8r.com/news/2015/07/premiere-hear-a-track-from-anja-schneiders-latest-ep/#comments Wed, 01 Jul 2015 18:50:22 +0000 http://www.xlr8r.com/?p=94684 Following an impressive 2014, Mobilee label head, Anja Schneider, will release her first EP of 2015, Circle Culture, on July 10. Alongside Anja's two originals, the EP also includes a remix by Konstantin Sibold & Leif Müller.

The dreamy and hypnotic opening cut, "Circle Culture," has been a highlight in Anja's sets since debuting last month with its spine-tingling breakdowns. Operating on a darker tip, B-side cut "The Squaring" is a deep and rolling techno stomper that expertly plays with tension across its 10-minute run. Closing out the EP is Konstantin Sibold & Leif Müller's peak-time techno rework of "Circle Culture," a fitting end to a great EP.

Circle Culture will be available here on July 10, with "The Squaring" streaming in full below.

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Interview: Frank Wiedemann and RY X Prep for the Sacred Ground Festival http://www.xlr8r.com/features/2015/07/interview-frank-wiedemann-and-ry-x-prep-for-the-sacred-ground-festival/ http://www.xlr8r.com/features/2015/07/interview-frank-wiedemann-and-ry-x-prep-for-the-sacred-ground-festival/#comments Wed, 01 Jul 2015 17:49:36 +0000 http://www.xlr8r.com/?p=94604 Following the release of their stunning debut album, Sacred Ground, the next step for Howling—Ry "RY X" Cuming and Âme's Frank Wiedemann—is a festival of the same name, co-curated by the two artists and driven by a shared desire to cultivate a sense of artistic community by focusing on intimacy rather than enormity. On July 11, a mere 800 fortunate ticket holders will have gather at the site, a beautiful open-air farmland nestled within the small town of Uckermark, roughly 100 kilometers north of Berlin. The roster of musical acts includes David August, Dauwd and Cuming's partner in the Acid, Adam Freeland, among others—along with Howling, Âme, and, performing solo, RY X. They'll be accompanied by a carefully selected array of artistic installations from around the world; the schedule will be absent of any specific timetable, all designed to enhance human connections and leave space for both collaboration and improvisation. Ahead of the festival’s debut, XLR8R spoke with RY X and Wiedemann to learn more about the underlying motivations and visions behind Sacred Ground, and what attendees can expect this year round.

Curating a festival isn’t easy,  especially with your busy touring schedules. How did the decision to do this come about, and what were the initial motivations behind Sacred Ground?

RY X: It was just the case that we had an idea - and it seemed great and plausible at the time - that has slowly turned into reality. The motivation was very simple: it’s about bringing amazing music, cool experiences in art and a sense of community to people. That idea so often gets lost in festivals nowadays.

Wiedemann: The starting point was just over a year ago, in early 2014, when we figured out that we had four different bands that we’re playing in and we just thought that it would be really nice to have they playing all together in one place at one time. And this is shown in the line-up: We have Howling, Adam Freeland, RY X, and Âme all there, with many more. We wanted to show people the variety that brings us all together.

Besides being the title of Howling’s album, is there anything behind the name of the festival?

Wiedemann: We thought about this a lot, but chose the same name as the album because it just sounded right. "Sacred ground" explains a lot about the album, and how it came together, because it is all about special places where we recorded it—and the festival will be another case where Ry and I will be doing music together in a special place in a special surrounding.

"Sacred objects aren’t sacred inherently—rather, it is the relationship between people and the object that makes them so."

RY X: Sacred objects aren’t sacred inherently—rather, it is the relationship between people and the object that makes them so. We are creating the environment for people to have this relationship, but it is ultimately for them to connect with each other and the music in order to create this sacredness.

You’ve got a very small, but amazing, group of artists playing at Sacred Ground. How did you curate the line-up?

RY X: It’s sort of our hub—it’s that simple. We’ve got so many interesting friends that are playing great music, so we just invited them to come and join in. Each artist who is going to play Sacred Ground is a friend, and shares an artistic connection with us in some way. We didn’t curate it to try and be anything more than us getting our friends to go and play outside of a city, which doesn’t happen that often— and we also wanted something intimate rather than a huge festival ground where the peoples’ experiences can be quite distorted.

On the subject of this intimacy, is this what you think will make Sacred Ground stand out in what is already an overcrowded market for festivals?

David August

David August

RY X: Yes. We really wanted to focus on this intimacy—that’s especially important. The focus is on music and community. To be honest, we don’t really like the word "festival"—it’s more like a gathering of people, because the context is lost when you go to these huge festival sites. Howling, RY X, Âme or David [August] alone could each probably sell out the 800 tickets in Berlin so it’s really nice to think that those who attend this year will have a really special time.
In addition to this, we’re keeping it pretty open. We have plans that RY X will come out and open the festival, as opposed to being later on in the night, and we’ll probably have David close the festival with Frank—but everything in between will be free, because we want to change the idea that artists belong somewhere on a timetable. We want to create this freedom, where timetables don’t exist. Woodstock is a weird reference at this point, but we want to bring this sense of surprise back where people don’t know what is going to happen and when. The concept is to bring everybody together at the start of the festival, and really develop this sense of community. We don’t want people to rock up at 8pm because their favourite artist is playing—we want everyone to be there for the whole time.

Have you intentionally limited the number of ticket sales to create this intimacy?

RY X: Yes. We could probably have four times the amount of people we have attending, but we don’t want this. The tickets are really limited, and everyone requests an invitation via the website. It's an open platform—no hierarchy, and all hearts are welcome. We are trying to create this system where people feel they are going to really be part of something, rather than just getting as many people in this space and selling it out. Everybody involved, in terms of the musicians, is either going to break even or even lose money, so everybody is doing out of the love of their heart. There is no money-making scheme happening—there is no grand plan to grow it or whatever, but this is our first attempt.

Wiedemann: There is a festival in Germany called Nachtdigital, and they limit their tickets to 3,000, which may not sound a lot—but it is this super huge area with two stages. It is one of the nicest places to be because it’s so relaxed—there are no stresses of when to be where to meet friends, and everything is far more peaceful. You can experience every act properly and I think this is the beauty of it. That’s what we’re looking to achieve.

I presume the venue, a small farm north of Berlin, plays a fundamental role in this vision. What you were looking for, and how did you find it?



RY X: There is a guy, Max, who I work with who lives in Berlin. He is a dear friend and a really good creator of spaces, so naturally we were chatting to him about the idea and it just grew from there. He told us about the property which is owned by his family friends, and he suggested that we just keep the festival in the family for now. We didn’t really look too much besides a few small places in Berlin, but we liked the idea of getting people outside of the city to enjoy the experience. We wanted to get people out of the normal context.

Wiedemann: The beautiful part of the place we’ve found is that people are actually living there. They are really excited by it—they’re really looking forward to being part of it. It’s a really cool area that’s full of artists who have moved out of Berlin to focus on developing their skills, and I think this is really special.

Can you tell us a little more about the site itself?

Adam Freeland

Adam Freeland

RY X: It’s just a farm. There is a big barn and a lake about a ten-minute ride away on a bike. It’s in a tiny town, and the camping is on this wide-open field—it is just about removing people from what they’re used to in Berlin. It’s the perfect location for people to get out of the city to spend a few days really connecting with other people, and getting to make their own choices as to how they want to interact with people as opposed to being ushered around at a big festival, completely lost in the hugeness of it all. This small, intimate vibe will develop these human connections.

Aside from the music, the event has a focus on food and other artistic disciplines . What do you have in mind?

RY X: Children of the Light are doing a light installation. They’re from Amsterdam, and they did the visuals for Darkside and for Club Trouw in Amsterdam. We also have the guy that worked with the Acid here in L.A. who does this stuff with lasers, and he is going to bring this 3D laser installation. I’ve also got a couple of guys in Berlin who are involved in the avant-garde performance-art scene, and they might come and do some art installations in the environment.Regarding the food, we are trying to get local and sustainable stuff in the area, as opposed to getting a catering truck up to drive up from Berlin. It’s important to us that the community in the little town are included, and that we source things from local places. We also want it to be cross-platform, with people teaching yoga and musicians getting involved in the food and the art. It’s just important that we create this small, tight community.

Wiedemann: There are even movies in the public spaces!

RY X: As long as the art is good, then it’s in line with what we’re doing. We’re lucky to have a lot of amazing artists around us, so that when one of our friends wants to be involved, I don’t have to be worried about the quality. We don’t have to micromanage—we can allow the artists their freedom and everybody gets to be part of the experience.

"You have to do the same amount of work for something that is 800 people as say 10,000, but we love it."

Has it been much harder to actually put the festival together than you thought it would be?

RY X: You should talk to Max about that! We’ve been pretty blessed to curate the festival and come up with ideas, and that has been amazing—but the administration and technicalities have been insane. You have to do the same amount of work for something that is 800 people as say 10,000, but we love it.

Wiedemann: The hard thing for Max is that both Ry and I are constantly having ideas about what we could do at Sacred Ground. A lot of people, who now know about the festival, are writing to us and wanting to be part of it, and so we are constantly having new input. This is a very beautiful thing, but Max has to channel all that.

It’s still very early days, but what visions do you have for Sacred Ground in the future?

RY X: We still don’t know whether this is an idea that will grow and expand in different places across the globe each year, or whether it is a one-off that never happens again. It would obviously be great to grow it — but this first one is just an experiment.

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Watch Ben Klock And Marcel Dettmann Close Awakenings 2015 http://www.xlr8r.com/news/2015/07/watch-ben-klock-and-marcel-dettmann-close-awakenings-2015/ http://www.xlr8r.com/news/2015/07/watch-ben-klock-and-marcel-dettmann-close-awakenings-2015/#comments Wed, 01 Jul 2015 17:00:09 +0000 http://www.xlr8r.com/?p=94694 Ben Klock and Marcel Dettmann are argueably the two of the most respected techno producers in the world right now. Their nine-hour plus sets are demanded by clubs and promoters around the globe, and their DJ sets are sought after by the largest festivals in Europe.

Last weekend on Sunday in Holland, the two Berghain residents played a back-to-back two hour set to proudly close out Awakenings 2015. The festival took place over two days, and included performances by Len Faki, Joseph Capriati, and Dave Clarke.

The sweaty performance was recorded live by BE-AT TV and is available for viewing here.

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Premiere: Hear Redshape Remix Dark Sky's "Voyages" http://www.xlr8r.com/news/2015/07/premiere-hear-redshape-remix-dark-skys-voyages/ http://www.xlr8r.com/news/2015/07/premiere-hear-redshape-remix-dark-skys-voyages/#comments Wed, 01 Jul 2015 15:32:54 +0000 http://www.xlr8r.com/?p=94669 On July 31, Monkeytown Records will release the Voyages remix EP by London-based production trio Dark Sky. Originally released on Dark Sky's LP imagin, "Voyages" now returns with reworks by Francis Inferno Orchestra and Redshape.

Keeping with the moody sci-fi theme, Redshape twists the original's central synth line into a devilishly moaning bassline. The masked artist drives the track along with a hard-hitting, bouncy groove and razor-sharp hi-hats, building tension to a huge crescendo before stripping things back and letting the bassline ride the track out in style.

Voyages can be preordered over at Monkeytown Records, with Redshape's remix streaming in full below.

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Lanark Artefax "The Angel Problem" http://www.xlr8r.com/mp3/2015/07/lanark-artefacts-the-angel-problem/ http://www.xlr8r.com/mp3/2015/07/lanark-artefacts-the-angel-problem/#comments Wed, 01 Jul 2015 15:10:51 +0000 http://www.xlr8r.com/?p=94656 Today, 21 year old Glaswegian producer Calum MacRae (a.k.a. Lanark Artefax) released his Windox Rush EP via fledging UK label Cong Burn Waves. MacRae presents three highly rhythmic tracks, interspersed with 2 ambient interlude-like pieces. “I set out to make something that needs to be played loud in a club," MacRae explains, "but then the percussive tracks started to grow into something very melodic.” Pulled from the release is "The Angel Problem," which fuses chunky, dancefloor-focused beats with chord stabs, robotic vocal chops, and breakbeat-like flourishes. You can purchase Windox Rush over at the Cong Burn Waves Bandcamp page, with "The Angel Problem" available as a free download below.

The Angel Problem

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Competition: Win a Pair of Weekend Combi Passes to KRAKE Festival http://www.xlr8r.com/news/2015/07/competition-win-a-pair-of-weekend-combi-passes-to-krake-festival/ http://www.xlr8r.com/news/2015/07/competition-win-a-pair-of-weekend-combi-passes-to-krake-festival/#comments Wed, 01 Jul 2015 13:26:11 +0000 http://www.xlr8r.com/?p=94620 KRAKE is an annual Berlin based festival for challenging electronic music brought to you by Killekill. KRAKE means octopus and the festival is organised in a comparable way: reaching out to selected locations during one week presenting the best in electronic music, whatever style it is. KRAKE is a festival for music lovers: It is not huge, not expensive and does not have big sponsoring deals or four different colour area passes.

The over-all set up will be the same as last year: A week starting with an arty night on Monday, the classic Wednesday night at Berghain Kantine, a bomb night of modern techno on Friday at Suicide Circus, and the peak of the festival on the last day, where they combine the area of Urban Spree with that of Suicide Circus to offer a massive festival place right in the center of the city to wander around between six floors full with music and arts.

KRAKE takes place at various locations around Berlin from August 3-8. More information, including details about each day's line up, can be found here. A documentary on last year's event can be seen below.

To be in with a chance of winning in a pair of weekend combi passes, enter your email below. Terms and Conditions apply.

Terms and Conditions:
  1. The promoter is, KRAKE Festival and agent, XLR8R.com whose registered office is at 837 Traction Ave #304, Los Angeles, CA 90013, USA.2. Employees of KRAKE Festival l / XLR8R.com or their family members or anyone else connected in any way with the competition or helping to set up the competition shall not be permitted to enter the competition.
  2. There is no entry fee and no purchase necessary to enter this competition.
  3. Closing date for entry will be Wednesday July 08, 2015 at 11:59PM (PST). After this date the no further entries to the competition will be permitted.
  4. No responsibility can be accepted for entries not received for whatever reason.
  5. The rules of the competition and the prize for each winner are as follows:
    • Only 1 entry per email address accepted
    • Must be 18 years of age or older to enter
    • Giveaway is for 2 pairs of weekend combi passes to the KRAKE Festival in Berlin, Germany (August 7-8, 2015)
    • Winning tickets are non-transferrable and cannot be sold.  Valid ID must be presented.
    • Prize does not include transportation or accommodations, entry only.
  6. The promoter reserves the right to cancel or amend the competition and these terms and conditions without notice in the event of a catastrophe, war, civil or military disturbance, act of God or any actual or anticipated breach of any applicable law or regulation or any other event outside of the promoter’s control. Any changes to the competition will be notified to entrants as soon as possible by the promoter.
  7. The promoter is not responsible for inaccurate prize details supplied to any entrant by any third party connected with this competition.
  8. No cash alternative to the prizes will be offered. The prizes are not transferable. Prizes are subject to availability and we reserve the right to substitute any prize with another of equivalent value without giving notice.
  9.  Winners will be chosen at random from all valid entries received and verified by Promoter and or its agents.
  10. The winner will be notified by email within 2 days of the closing date. If the winner cannot be contacted or do not claim the prize within 2 days of notification, we reserve the right to withdraw the prize from the winner and pick a replacement winner.
  11. The promoter will notify the winner when and where the prize can be collected.
  12. The promoter’s decision in respect of all matters to do with the competition will be final and no correspondence will be entered into.
  13. By entering this competition, an entrant is indicating his/her agreement to be bound by these terms and conditions.
  14. The competition and these terms and conditions will be governed by English law and any disputes will be subject to the exclusive jurisdiction of the courts of US.
  15.  The winner agrees to the use of his/her name in any publicity material. Any personal data relating to the winner or any other entrants will be used solely in accordance with current US data protection legislation and will not be disclosed to a third party without the entrant’s prior consent.
  16. Entries into the competition will automatically opt-in email for XLR8R.com weekly email newsletter, The Lowdown. User may unsubscribe at anytime.
  17. Entry into the competition will be deemed as acceptance of these terms and conditions.
  18. This promotion is in no way sponsored, endorsed or administered by, or associated with, Facebook, Twitter or any other Social Network. You are providing your information to XLR8R.com and not to any other party. The information provided will be used in conjunction with the following Privacy Policy found at http://www.xlr8r.com/legal.

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B2B: Carl Craig and Mirko Loko http://www.xlr8r.com/features/2015/07/b2b-carl-craig-and-mirko-loko/ http://www.xlr8r.com/features/2015/07/b2b-carl-craig-and-mirko-loko/#comments Wed, 01 Jul 2015 12:00:54 +0000 http://www.xlr8r.com/?p=94584 Mirko Loko has had a longstanding relationship with Cadenza and the label's founder, Luciano: Besides sharing a country with Luciano—both call Switzerland home—Loko's debut LP, Seventynine, came out on Cadenza in 2006. Flash forward six years, and the man born Mirko Colicchio has another album out, once again on Cadenza—and much like its predecessor, Comet Plan is another precisely produced, emotion-filled, and downright beautiful set of four-to-the-floor rhythms. Featuring collaborations with pianist Francesco Tristano and dOP's Jaw, it's a work influenced equally by Detroit, Chicago and the producer's own reservoir of creativity.

carlcraig_121814But Loko has an even longer professional relationship with Planet E and that label's prime mover, Carl Craig. Back in 2007, the Motor City techno maestro put out the Pixelgirl EP, the final release from Lazy Fat People, Loko's now-defunct partnership with Ripperton. The Switzerland—Detroit connection continues—check out the Craig remix of the recent album's "Kolor" below—and so we figured it might be a good idea to get Craig to ask Loko about his influences, his inspirations and his love of collaborations.

Carl Craig:Mirko Loko How did working for Swiss radio prepare you or influence you to make your own music and to DJ independently?
Mirko Loko:
Those were great years! Working for the third most important Swiss national radio station helped me a lot. It was free radio, much different than the others, so no commercials would get on the air. I learned how to use postproduction software, and I received training on sound recording, and on how to use mixers, and everything related to radio in general. Moreover, I had the opportunity to work with music lovers who taught me a lot and who contributed considerably to widening my horizon.
I was categorized as a DJ when I started in 1998—and it was not easy, because electronic music was not really welcomed by one part of the radio, who had a rock background. But I worked closely with radio presenters who were experts in their fields, and his immediately enabled me to access lots of interesting things in different musical styles. I worked for hip-hop, world music, and general programs—after that, I became very eclectic. Radio broadcasts also gave me the opportunity to meet incredible artists such as you, Carl, and enjoy a long lasting friendship. They may have been the best years of my life. It was very exciting to be introduced to such a musical environment at such a young age, being only 18 years old. This experience transformed my personal approach to music.

Craig: Does living in a place as beautiful as Switzerland inspire your music at all.
Absolutely—Switzerland is a beautiful country! The landscapes are unique, and geographically, we are at the heart of Europe which enable us to quickly access many other countries. The Swiss scenery is very inspiring for me—Lausanne, the town where I live,  in particular. It has an incredible view on the Lac Léman [Lake Geneva] and the mountains, and we can contemplate this amazing sight every time we raise our heads. I am very attached to Lausanne, I feel well there, and it's inspiring to live in such a beautiful setting.
We also benefit from a large internationally-known cultural scene in various fields, such as contemporary dance with the Béjart Ballet or music with the Montreux Jazz Festival, which has hosted all the greatest artists who accompanied me during by my childhood. And our clubbing scene in the '90s gave us the opportunity to listen to avant-garde DJs on a regular basis. All these moments contributed to build my artistic world. Switzerland is very inspiring in terms of creativity—but paradoxically, you cannot live from your art if you do not export yourself.

Craig: Do you feel that your Italian heritage has a major role in your music making?
Mirko Loko:
I don’t think that my Italian origins influence my work. I was born in Switzerland—my grandparents came to live there in the sixties. I am the third generation installed here, and to be honest, I feel much more Swiss than Italian. In Switzerland, you automatically take your parents nationality, and not the citizenship of the country you were born in—so I am technically Italian but my story is Swiss. I studied, grew up and have almost always lived in Switzerland. Nevertheless, I have to recognize that my parents used to listen to a lot of Italian disco and popular Italian music, so it is actually difficult to answer to this question. I would say that the music we listen to as kids does play an important role, but in my case my musical curiosity prevailed.

"I like the idea of musical exchange and collaborations. It is a kind of shared intimacy."

Craig: What made you want to collaborate with other singers and artists  on your new album, Comet Plan?
Loko: I like the idea of musical exchange and collaborations. It is a kind of shared intimacy. I felt like inviting artists with whom I had these affinities and that I respect a lot, and I like the idea of creating long lasting collaborations; over time, the exchanges are more and more tuned and refined. I worked a lot with Jaw, and I absolutely wanted to renew this experience. Voices inspire me, and including them always bring something special; Jaw’s timbre is perfect for that kind of exercise. He came to Lausanne and we recorded those tracks. I also felt like visiting Francesco’s world. He is a great guy—I met him in Detroit in your garden! We immediately got along and we have a good connection. I thought his piano touch could add something more to the 12 tracks of the album. I've enjoyed a lot working with them a lot, so I felt like reproducing this experience.

Craig: You always have quite a large sound—does it make a difference to you if you are making music completely digitally on the computer, or is it necessary to include analog processors in your music?
I combine both of them, but I use more and more analog processors. They sound good, but also give a more spontaneous and playful impulse to my work.
When I started producing ten years ago, I used more plugs—but today the trend is clearly reversed. If I have to play live shows, I mostly use hardware. I feel more comfortable in this field now, which was not the case a few years ago. Although digital technology offers lots of high quality of software nowadays, analog technology is irreplaceable to me. I have chosen to orient myself in this direction, especially when it comes to live performances. I don't do lots of live performances, but when I do, I prefer to perform instinctively. It is more risky—but I feel comfortable in such a configuration.

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Ron Trent Next Up on Rawax's Aira EP Series http://www.xlr8r.com/news/2015/07/ron-trent-next-up-in-rawaxs-aira-ep-series/ http://www.xlr8r.com/news/2015/07/ron-trent-next-up-in-rawaxs-aira-ep-series/#comments Wed, 01 Jul 2015 11:44:29 +0000 http://www.xlr8r.com/?p=94704 Rawax has lined up Chicago house icon Ron Trent for the second installment in its AIRA EP series. The AIRA line of studio equipment line was developed by Japanese manufacturer Roland last year in an effort to emulate the sounds of staple machines like the TR-808 and 707 and TB-303, and the run of 12"s kicked off in April with a split from Ricardo Villalobos and Oskar Szafraniec. News of Trent's forthcoming contribution arrives not long after Rush Hour announced a retrospective box set for Trent's Prescription label, and the two-tracker is due for release "soon." Fred P will also contribute an EP to the series, although details are still forthcoming. For now, clips for Rawax AIRA Series Vol. 2 can be previewed here via Clone. (via Resident Advisor)

01. Deep In The Stars
02. Rock The Box

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Rødhåd To Make U.S. West Coast Debut In Los Angeles http://www.xlr8r.com/news/2015/06/rodhad-to-make-u-s-west-coast-debut-in-los-angeles/ http://www.xlr8r.com/news/2015/06/rodhad-to-make-u-s-west-coast-debut-in-los-angeles/#comments Tue, 30 Jun 2015 23:57:43 +0000 http://www.xlr8r.com/?p=94624 This holiday weekend, international techno label Droid Behavior will bring Rødhåd to the West Coast and LA for the first time on Friday, July 3rd at Lot 613.

This show marks the start of only two U.S. tour dates, including a 4th of July appearance at Honey Soundsystem in San Francisco. The Dystopian label boss is no stranger to partying with Droid, having just headlined their annual Movement Official Afterparty in Detroit this year and surprising the enormous late night crowd by going back to back with Ben Klock till 9am when the set was billed to end at 6am. His West Coast debut will take place in Downtown LA and the lineup will include sets by DJ Hyperactive and Droid resident selector, Subversive.

Tickets can be purchased by clicking here, and you can find out more information by viewing the event page on XLR8R.

613 Imperial St, Los Angeles, California 90021

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P. Morris Releases Free EP http://www.xlr8r.com/news/2015/06/p-morris-releases-free-ep/ http://www.xlr8r.com/news/2015/06/p-morris-releases-free-ep/#comments Tue, 30 Jun 2015 23:40:47 +0000 http://www.xlr8r.com/?p=94631 Following on from last months POP.MORRIS mix/tapes, LA-based producer P. Morris has released his latest EP, Daydream, for free via his Bandcamp page—as well as a paid CDR option.

The six-track EP is a follow up to 2014's Beloved EP and is drenched in P. Morris' stylistic nuances: "the Western twang of the pedal steel, the amorphous breaks and time signatures of the 'Morris Melts,' the glossiness and sheen present in Debut, and the emotion of soul and R&B spoken through string arrangements."

Daydream is available now over at the Bear Club Music Bancamp page, with the EP's tracklist below; along with a full stream.

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1080p Announces UMFANG Tape http://www.xlr8r.com/news/2015/06/1080p-announces-umfang-tape/ http://www.xlr8r.com/news/2015/06/1080p-announces-umfang-tape/#comments Tue, 30 Jun 2015 22:47:32 +0000 http://www.xlr8r.com/?p=94619 Vancouver imprint 1080p has announced that its next release will be Ok, a 48-minute tape release from NYC producer Emma Olson (a.k.a. UMFANG).

The NYC artist samples old trance records and takes inspiration from Bachata and Cumbia rhythms, with 1080p describing the release as "amorphous, polyrhythmic techno influenced by latin drum patterns, dj breaks and minimal percussion." Ok will be released on tape and digital on August 4, with the tracklisting available below.


01. Shant
02. Beta Librae
03. Ok
04. Mica
05. Shockshock
06. Quietly And Softly
07. How To Lie
08. Vast
09. Minus Twenty
10. Six
11. Cygnus

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Paul Woolford "Orbit"/"MDMA" http://www.xlr8r.com/reviews/2015/06/paul-woolford-mdmaorbits/ http://www.xlr8r.com/reviews/2015/06/paul-woolford-mdmaorbits/#comments Tue, 30 Jun 2015 18:08:07 +0000 http://www.xlr8r.com/?p=94575 Over the course of his storied career, we’ve come to expect quality and eclecticism from dance-production mastermind Paul Woolford, the man who's brought us neoclassics like “Erotic Discourse” and more recently, jungle-influenced tunes under his Special Request alias. With his latest two-track release for Hotflush, “MDMA”/“Orbit," Woolford comes through again, utilizing left-field sonics and drum-intensive programming to create forceful songs that will undoubtedly be yielding some special clubland moments.

The title track, “MDMA,” starts off with a sharp flurry of hi-hats before diving into a slamming piano riff punctuated with thunderous drums. Akin to his 2013 Hotflush chart-topper “Untitled”, which packed dancefloors well past the summertime, “MDMA” lumbers into a thick and heavy groove, subtly working in tender female vocal samples between heavy keys and pumping peak-time percussion for a similar blissful experience. “Orbit” closes out the release, keeping the drum-heavy aesthetic but dialing back the tempo and intensity in favor of leaner and more stripped-back atmospherics.

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Premiere: Hear Fort Romeau's Frankfurt Versions in Full http://www.xlr8r.com/news/2015/06/premiere-hear-fort-romeaus-frankfurt-versions-in-full/ http://www.xlr8r.com/news/2015/06/premiere-hear-fort-romeaus-frankfurt-versions-in-full/#comments Tue, 30 Jun 2015 17:28:20 +0000 http://www.xlr8r.com/?p=94566 Following on from the announcement of Fort Romeau's Frankfurt Versions—which will see release on July 6 via Ghostly International—all five cuts are now streaming in full below.

Opening with Roman Flügel's brilliant, densely layered rework of "Insides," the 12" gracefully moves through the two bassline-driven remixes from Robert Jonson regulars Orson Wells and Massimiliano Pagliara—who remix Lately and "All I Want," respectively—to the final two cuts on the record from Tuff City Kids (a.k.a. Gerd Janson and Phillip Lauer), who turn in two mixes of "Cloche": a raw and chunky "Club Mix," and the digital exclusive "Disco Mix."

Frankfurt Versions can be preordered here, with all five remixes streaming below.

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Yard One "Willow" http://www.xlr8r.com/mp3/2015/06/yard-one-willow/ http://www.xlr8r.com/mp3/2015/06/yard-one-willow/#comments Tue, 30 Jun 2015 15:49:32 +0000 http://www.xlr8r.com/?p=94550 We last heard from Yard One—the duo consisting of London based producer Jordan Bruce and Manchester's Larry Jones—back in April with the Memory Echoes EP. The four-tracker landed on Tact Recordings as a precursor to the forthcoming LP, When Elements Collide—which will also see release via Tact at the start of August. With When Elements Collide, Yard One present 10 eclectic tracks traversing the electronic music realm. In support of the LP, XLR8R has been gifted "Willow," a beautifully atmospheric cut that unfolds gracefully over its six-minute run, introducing melodic flourishes, organic textures, and club-ready percussion along the way. You can grab "Willow" for free below, with When Elements Collide arriving August 3.


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DARKSIDE Release Live Performance DVD http://www.xlr8r.com/news/2015/06/darkside-release-live-performance-dvd/ http://www.xlr8r.com/news/2015/06/darkside-release-live-performance-dvd/#comments Tue, 30 Jun 2015 14:02:03 +0000 http://www.xlr8r.com/?p=94511 Nico Jaar and Dave Harrington, who make up the The New York experimental and currently on-hiatus band DARKSIDE, are set to release a live DVD titled "Psychic Live" on the Matador Records website.

The performance was recorded on March 21st, 2014 at Stereolux - Nantes and features seven sprawling and unique takes on tracks from their 2013 debut album. The live DVD captures the band on stage at the peak of their touring schedule, and the live audio was captured and meticulously mastered by none other than Joe Lambert. On 17th August 2014, the group announced they were "coming to an end, for now" before they were to play their last show on September 12th at the Brooklyn Masonic Temple. 

The DVD is limited to 1,000 copies physical copies worldwide and is available to purchase now on the Matador Records online store and the official DARKSIDE website. You can also stream the video online via the concert website Quello. Check out the track listing for the DVD and watch the video below to hear more about DARKSIDE.

DVD Track Listing:
1. Freak, Go Home
2. Paper Trails
3. The Only Shine I've Seen
4. Heart
5. Metatron
6. Greek Light
7. Golden Arrow

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Perc Set to Release New Solo EP on Perc Trax http://www.xlr8r.com/news/2015/06/stream-a-track-from-percs-new-solo-ep-on-perc-trax/ http://www.xlr8r.com/news/2015/06/stream-a-track-from-percs-new-solo-ep-on-perc-trax/#comments Tue, 30 Jun 2015 13:44:05 +0000 http://www.xlr8r.com/?p=94539 Following the success of last February's The Power And The Glory LP, Perc returns to Perc Trax with Gob. 

Created during the run up to the recent UK general election, Gob continues the political stance of The Power And The Glory without forgetting that techno is body music, created for and experienced best on the dance floor.

Scheduled for release on August 7, Gob finds Perc more focused than ever with his dance floor instincts sharpened by the two lengthy international tours that followed that album and the 10 years of Perc Trax releases.

Ahead of the EP's release, a clip of title track "Gob" can be streamed below.


1. Gob
2. Gruel
3. Change To Win


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Podcast 393: Alex Smoke http://www.xlr8r.com/podcasts/2015/06/podcast-393-alex-smoke/ http://www.xlr8r.com/podcasts/2015/06/podcast-393-alex-smoke/#comments Tue, 30 Jun 2015 13:00:41 +0000 http://www.xlr8r.com/?p=94528 With a lineage that runs from Harri and Dominic, the Optimo duo and Slam to the likes Rustie, Hudson Mohawke and the LuckyMe crew, Glasow has seen no shortage of brilliant electronic-music mavens—and Alex Smoke (a.k.a. Alex Menzies) sits comfortably within this category.  An acclaimed label head, remixer, DJ and live artist, Smoke’s catalogue of artistic endeavors has grown steadily ever since he broke onto the scene in 2002 with the Random As EP, a stunning debut release that captured the minimal techno sound for which he has become so widely extolled.

Over a decade later, however, and Smoke today is not the same artist he once was. While his vast musical knowledge and competence, picked up during a childhood which saw him play in a choir and train classically on both the cello and piano, are as in play as ever, his output has seamlessly but steadily drifted from European minimal dance floor beats to a more ambient and experimental sound. With a new studio album in the works, and more projects scheduled before the end of the year, Smoke took to his Glasgow studio to compile this week’s XLR8R podcast, with the results reflecting his artistic transformation and showcasing his spectacular musical talents.

01 Autechre "Melve" (Warp)
02 Robert Aiki Aubrey Lowe & Ariel Kalma "Strange Dreams" (RVNG Intl.)
03 Burning Star Core "The Point of Departure" (NoFi)
04 Aphex Twin "Vordhosbn" (Leila cover) (Warp)
05 Oliver Coates "Raimondas Rumsas" (PRAH)
06 Junior Loves "Ignacio's Daydream" (1080)
07 Nick Cave & the Bad Seeds - Push The Sky Away (Bad Seed Ltd)
08 Alva Noto "Xerrox Isola" (Raster Noton)
09 OOBE "Radiation" (1080)
10 Arca "Wound" (Mute)
11 Alice Coltrane "Yamuna Tira Vihari" (Avatar Book Institute)
12 Damaindeh Bau "Mo-Mo" (Rounder)
13 Der Zyklus "Eigenface (Facial Asymetry)" (Clone)
14 Burning Star Core "I Wanna Make A Supersonic Woman Out Of You" (NoFi)
15 Errorsmith & Mark Fell "Cuica Digitales" (PAN)
16 Yahshu "Somebody Else's Dream" (Rysunku)
17 Alex Menzies "Robots Upbeat 7" (Kathexis)
18 Aphex Twin "rhubarb orc. 19.53 rev" (self-released)
19 Fugue - "Out Of Darkness" (unreleased)

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Otik Preps EP for Infinite Machine, Shares Previews http://www.xlr8r.com/news/2015/06/otik-preps-ep-for-infinite-machine-shares-previews/ http://www.xlr8r.com/news/2015/06/otik-preps-ep-for-infinite-machine-shares-previews/#comments Mon, 29 Jun 2015 23:09:59 +0000 http://www.xlr8r.com/?p=94504 Following on from his Emphasis EP on Tessier-Ashpool, East London-based producer Otik will release the Stranglove EP on Infinite Machine July 24.

Stranglove operates "within the framework of 130-ish BPM breaks-led electronic compositions," sitting as a companion piece to Emphasis. The EP features four, dense cuts with highly saturated sound design, razor-sharp percussion, and expertly programmed vocal samples. All four tracks can be previewed via the player below, with the full release available for purchase here on July 24.

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Daedelus Creates Custom Effect Instrument Called "Delaydelus " http://www.xlr8r.com/news/2015/06/daedelus-creates-custom-effect-instrument-called-delaydelus/ http://www.xlr8r.com/news/2015/06/daedelus-creates-custom-effect-instrument-called-delaydelus/#comments Mon, 29 Jun 2015 19:50:59 +0000 http://www.xlr8r.com/?p=94447 Daedelus (a.k.a. Alfred Darlington) has created a new sample and delay instrument called the Delaydelus, manufactured by Austin, TX based technology group, Bleep Labs.

The limited edition product has been strictly available by pre-order for the last month, and purchases for the one-of-a-kind unit will close on July 2. Once pre-orders are finalized, the instrument will no longer be available for direct purchase. The Delaydelus comes fully built and ready to make noise. Only a 9v battery is required.

"I've always aspired to invention, my artist namesake means as much," says Daedelus when speaking with XLR8R about his new hardware project. "With the Delaydelus I've a chance to breakaway from the usual album releasing cycle and instead try to empower other creatives to apprehend, make, and manipulate."

The original idea was created by Darlington, and the code and hardware design was created by John-Mike Reed (a.k.a. Dr. Bleep). Trek Matthews contributed the device’s artwork and Bleep Labs will be doing final assembly and fulfillment in their Austin workshop. After the pre-orders are closed, Bleep Labs will produce the devices and get them ready for shipping in about 5-7 weeks.

The interface was created by taking a small, pedal sized box and incorporating joystick buttons, a patch bay, and three knobs to create a powerful sampler and delay processor. The device was designed using the Teensy 3.1 and can be programmed using the Arduino IDE. The device has 8 permanent banks and 8 user ones. When you record to a “pin”, the default sample is not overwritten and can be switched back to it's original sample. All samples are retained when power is turned off.

The unit includes

– Eight samples designed by Daedelus
– Over a minute of total sample memory
– Beautifully crunchy 12bit, 30kHz audio
– One second delay
– Combine four samples at a time with the unique patch bay
– Through mode to use the delay with an external source
– Sample audio or use it to trigger or modulate
– Optional USB adapter allows you you control the device with MIDI as well as reprogram it

Check out the Bleep Labs website and pre-order the Delaydelus by clicking here and watch the following videos to become more familiar with how the Delaydelus works.

You can also check out Daedelus in the month of July at the following tour dates:

7.2 - Manila - Black Market
7.3 - Seoul - Cakeshop
7.4 - Ho Chi Minh City - The Observatory
7.7 - Beijing - Dada
7.9 - New Delhi - Antisocial
7.10 - Mumbai - Bonobo
7.11 - Bangalore - Humming Tree
7.19 - Tokyo - Sound Vision Museum
7.20 - Osaka - Creative Center
7.24 - Austin - Empire Automotive
7.31 - Honolulu - Swap Meet

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Watch Moog Music's Latest Category 5 Video Featuring Robert Rich http://www.xlr8r.com/news/2015/06/watch-moog-musics-latest-category-5-video-featuring-robert-rich/ http://www.xlr8r.com/news/2015/06/watch-moog-musics-latest-category-5-video-featuring-robert-rich/#comments Mon, 29 Jun 2015 19:34:08 +0000 http://www.xlr8r.com/?p=94495 The latest instalment of Moog Music's Category 5 interview series—which is named after the cables used to enable modern digital communication—features ambient musician and composer Robert Rich. The Category 5 series offers unique insight into key artists in today's creative landscape—as well as offering free EPs by the artists.

In the video, Rich chats, quite deeply, about his earliest musical influences, modular synthesizers, and learning polyrhythm from tree frogs. You can watch the video in full below, with Robert Rich's Hiding In Daylight EP available as a free download.

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Premiere: Stream Aleks' Low Definitions EP http://www.xlr8r.com/news/2015/06/premiere-aleks-ulterior-motive/ http://www.xlr8r.com/news/2015/06/premiere-aleks-ulterior-motive/#comments Mon, 29 Jun 2015 17:55:23 +0000 http://www.xlr8r.com/?p=94394 At the end of the month, Netherlands producer Aleks will drop his Low Definitions EP on fledging Manchester-based label Natural Sciences.

The EP will be available on vinyl and digital and lands with four tripped out house and techno excursions that are "built around degraded tape static, distortion peddles, analogue gear and phantom sounds." Filled with fuzzy, rhythmic-like textures, tape hiss, distorted chords, and loose, drum-machine rhythms, EP cut "Ulterior Motive" is streaming in full below.

You can preorder Low Definitions via the Natural Sciences Bandcamp page.

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Watch Kiasmos Entire Live Set From Sonar 2015 http://www.xlr8r.com/news/2015/06/watch-kiasmos-entire-live-set-from-sonar-2015/ http://www.xlr8r.com/news/2015/06/watch-kiasmos-entire-live-set-from-sonar-2015/#comments Mon, 29 Jun 2015 16:00:56 +0000 http://www.xlr8r.com/?p=94424 Kiasmos is made up of Icelandic award-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the leader of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

By focusing solely on their self-titled debut album for Erased Tapes, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly built studio, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays.

After completing their first US tour with show in Los Angeles earlier this month at Hollywood Forever, Ólafur Arnalds and Janus Rasmussen made their way to Barcelona to perform live at Sonar 2015.

Check out the hour long performance via FranceTV and Culturebox here:

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Hear Nicolas Jaar's Latest EP, Nymphs III http://www.xlr8r.com/news/2015/06/hear-nicolas-jaars-latest-ep-nymphs-iii/ http://www.xlr8r.com/news/2015/06/hear-nicolas-jaars-latest-ep-nymphs-iii/#comments Mon, 29 Jun 2015 15:44:18 +0000 http://www.xlr8r.com/?p=94473 Last month, Nicolas Jaar released his first new record in four years, the Nymphs II EP. The series' second entry, Nymphs III, is out today and has been made available to stream in full via Jaar's own Other People imprint. Like its predecessor, the EP  was recorded in his home city of New York between 2011 and 2015, and comprises two tracks, "Swim" and "Mistress." It arrives just days after Jaar shared his 20-track score to 1968 Soviet film The Color of Pomegranates for free download, and can be heard in its entirety here.

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Helena Hauff Starts New Label, Return to Disorder http://www.xlr8r.com/news/2015/06/helena-hauff-starts-new-label-return-to-disorder/ http://www.xlr8r.com/news/2015/06/helena-hauff-starts-new-label-return-to-disorder/#comments Mon, 29 Jun 2015 15:06:01 +0000 http://www.xlr8r.com/?p=94469 Last week, Helena Hauff revealed details of her upcoming debut album on Werkdiscs. Now, word has come that the Hamburg-based producer and Golden Pudel resident is starting a new label, Return to Disorder. In an interview with Juno Plus, she says the outlet will bring together “psych rock and techno,” with a self-titled EP from Leicester band Children of Leir serving as the imprint's inaugural release in early July.

"I saw this band Cherry Choke live in Berlin, really enjoyed the gig and kept in touch with them, and when one of them started a new project, Children of Leir, I just really loved their stuff and decided that I wanted to release it,” she explains. Morah will deliver the label’s second release, and some of Hauff’s own material is expected to make an appearance sooner or later. For now, Children of Leir’s “Elixer” can be streamed in full below, where we’ve also included the EP’s complete tracklist.

A1 Shapes Of Sleep
A2 Drowned In Fear
B1 Seed Of Doubt
B2 Elixir

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