XLR8R http://www.xlr8r.com Accelerating music & culture Thu, 02 Jul 2015 00:09:08 +0000 en-US hourly 1 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 June 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 Artefacts "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 Artefacts) 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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B2B: Todd Terje and Jaga Jazzist's Lars Horntveth http://www.xlr8r.com/features/2015/06/b2b-todd-terje-and-jaga-jazzists-lars-horntveth/ http://www.xlr8r.com/features/2015/06/b2b-todd-terje-and-jaga-jazzists-lars-horntveth/#comments Mon, 29 Jun 2015 14:00:41 +0000 http://www.xlr8r.com/?p=94329 Terje Olsen, better known as Todd Terje, is one of the kings of the Norwegian sound, having climbed up Oslo's nu-disco ladder to reach global clubland fame via an array of world-conquering tracks—including, of course, "Inspector Norse," the deceptively bubbly tune that steamrolled the competition to become one of the tunes of 2012. His fellow Oslovian Lars Horntveth, meanwhile, inhabits a somewhat more arcane musical world: He's a founding member of Jaga Jazzist, the experimentally-inclined jazz ensemble that's been plying its wide-screen, post-rock–tinged trade for the past two decades.

jaga jazzist starfireOne might think that Olsen and Horntveth have little in common, other than that they both create music and they both hail from Norway's capital—but one would be wrong. Horntveth serves as a key player in Olsen's live band, and this past May, Olsen returned the favor by reworking the Jaga Jazzist cut "Oban" into something typically Todd Terje–esque, transforming the sprawling, swerving original into a chugger of a track that retains the song's sweeping feel while transforming it into something much more dancefloor-friendly. The song was the lead cut off of Jaga Jazzist's just-released new Ninja Tune album, Starfire, which sees the combo expanding their densely-packed, careening sonic palette by stretching the songs out to epic length and infusing them with a dose of hard-edged electronics. XLR8R caught up with the pair to talk about remixes, monotonous music, and Bryan Ferry.

Before we get into it, I have to say that I love the first paragraph of your new record’s press release.
Horntveth: Oh, what does it say?

It goes like this: “When the biggest stars in our universe begin to burn up and collapse they release neon gas. When electricity is passed through neon gas it glows. When it’s captured within glass we can use it to make colored light. When that glass is shaped into the outline of a naked girl it can be hung outside a strip club.”
Horntveth: [laughs]
Olsen: That’s so funny.

It kind of fits Starfire's music, which you could say is both cosmic and carnal.
Horntveth: Well, you know—whatever makes people happy.

How long have you two known each other?
Horntveth: Not that long, really. But I’ve played with Terje’s brother since I was about 15, I think.

And now you play in Terje’s live band, where the music is perhaps a bit more linear and direct than Jaga Jazzist’s sound. Is that a refreshing change for you?
Horntveth: Maybe a bit. But I actually make it difficult for myself in his band by playing bass and guitar, and sax and flute…and vibraphone.

Jeez, you do make it difficult.
Horntveth: But there are two or three songs where I just stand there and play a bassline for like five minutes. I love that.

How is Terje as a bandleader? Is he a tyrant?
Horntveth: Absolutely!
Olsen: What?
Horntveth: No, he’s very chill.
Olsen: I have the music arranged for a live situation ahead of time, so I think it’s pretty easy, really.

Was getting Terje to do a remix of “Oban” a way of getting a bit of payback for playing in his live band?
Horntveth: Well, not exactly. I first started becoming familiar with Terje’s music about the same time that I started writing this album. I think the first one I really heard was “Spiral,” which I don’t think Terje even likes that much.
Olsen: That’s right. [laughs]
Horntveth: I had just gotten my license, so I was driving a lot and listening to a lot of his music. I just liked the way his music would slowly build up—and that was sort of the genesis of the songwriting on Starfire. He had a lot of these 15-minute songs. I wanted to try something similar to that—stretching things out and not having everything piled on top of each other all the time—but in our own way.

The music isn’t exactly club music—but besides the length and the relative sparseness of the tracks, there are also more electronic elements than usual for Jaga Jazzist. What was the reasoning behind that?
Horntveth: It’s was just to try something differently, really. But I don’t think many people will actually dance to this music [laughs]. Maybe we’ll be surprised.

People have probably been dancing to the "Oban" remix, though. Terje, when you are remixing for somebody that you know and work with, does that put any additional pressure on you?
Olsen: No, I don’t think so. I actually have really wanted to remix Jaga Jazzist before, but I didn’t have the time. This time, it all worked out. But since we’ve gotten to know each other…I really don’t think that changed how I approached the remix. I was interested to hear how Lars approached the long-track format on the album—and what I ended up doing was to take the original song’s highly concentrated mass of music, and then washing it out to something that DJs can play. DJs don’t normally very much stuff happening in their music, I don’t think; it’s easier for people to grasp a piece of music if there aren’t too many ideas to grasp within the song, and that also makes it easier for DJs to use as a tool. If there’s too much, it’s difficult to remember everything that happens in a track! That boring thing where you count bars—that’s very helpful for DJs. They need to be able to expect what’s going to happen at the next turn.

You’re speaking from experience, of course.
Olsen: Of course. I’ve been a DJ for so long that it’s very much affected how I make long tracks. And what a DJ needs is very different than what Lars does, or really what any music producer who isn’t a dance-music producer does. It’s really two different worlds.

Do you find it more challenging to remix a song that wasn’t originally made as a dance track?
ToddTerje_byChristianBelgaux2800Olsen: Well, in general when remixing, there are two ways to go: Make things simpler, or make things more complicated. If I had gotten some track to remix that was really, really monotonous and didn’t contain much music, I would probably have to bring out my vibraphone or something, [laughs] But when you have something as musically complex as a Jaga Jazzist track, you just have to concentrate on one piece and really focus on that.

One thing that you focused on with your remix of “Oban” was the melody, which you pretty much kept intact.
Olsen: Yeah, it’s actually a fairly respectful remix. But there were many parts that I really liked that I didn’t include, simply because I felt that it wouldn’t be…symmetric, I guess. I think mathematically about music, I suppose. Which I suppose can sometimes result in boring songs, but that’s how I approach music.
Hornthveth: I love the remix. For me, that track’s sound brings me back to the really early ‘90s; it almost makes me think of bands like the Happy Mondays or something like that! It reminds of early English club music. And I love the way Terje used the melodies. Remixes will often just use a snippet of the original track, something that’s almost unrecognizable, and makes an entirely new song. Which can be supercool, of course, but I’m more a fan of the old maxi-single style of remixing, where they actually use the melody, but maybe stretch the song out and strip it down a little.

Photo: Anthony P. Huus

Photo: Anthony P. Huus

Was this a planned effort to expand Jaga Jazzist’s audience by getting dance-music fans to hear your music?
Horntveth: I guess that is always part of why you do remixes. You want to get something unexpected, but you also want to reach out and get different people to hear your music. But in this case, that wasn’t the main thing at all—I’m inspired by Terje’s music, and once I started playing in his band, we started talking about this. As Terje said, we've actually been talking about have Terje remix something for a while, but it didn’t happen until now.

Bryan Ferry

Bryan Ferry

On a whole other subject, I have to ask you about having Bryan Ferry sing “Johnny & Mary” live with you last year at Coachella and Oslo’s Oya Festival. I’m such a huge fan of him—what was that like? [Note: Ferry performs with Olsen and the band at the 44-minute mark in the above Oya Festival video.]
Olsen: It was nice! I think he enjoyed it quite a lot. He’s a very nice guy.
Horntveth: When we were here in Oslo with him, we played the song once for him, we were all happy—and he said, “Is it okay if I just stay here for the rest of the rehearsal?” We were like, “Sure..…” He stayed for like an hour. He was actually kind of nerdy, checking out guitar pedals and stuff.
Olsen: And then he asked my brother, Olaf, if Olaf would be his drummer! Unfortunately, he wasn’t able. Too bad for Olaf!

Jaga Jazzist performs in Montreal, Canada on June 29, and Ottawa, Canada on June 30.


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Adventures in Daydreams "The Man Who Loved Only Numbers" http://www.xlr8r.com/mp3/2015/06/adventures-in-daydreams-the-man-who-only-loved-numbers/ http://www.xlr8r.com/mp3/2015/06/adventures-in-daydreams-the-man-who-only-loved-numbers/#comments Sat, 27 Jun 2015 15:00:46 +0000 http://www.xlr8r.com/?p=94369 On July 6, Leeds-based techno duo Adventures in Daydreams will return to Richard Fletcher and Jordan Bruce's Tact Recordings for its sixth appearance on the label with The Man Who Loved Only Numbers EP. Composed of four deep and spacious techno cuts, the EP melds crisp 808 drums with floaty pads, melodic flourishes, and rolling rhythms. The title cut opens the EP with deep, didgeridoo-like textures before a chugging groove lands, locking the track in for the eight-minute ride ahead. You can download "The Man Who Only Loved Numbers" for free below, with he full EP available July 6.

The Man Who Loved Only Numbers

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Om Unit Announces 2015 US Tour Dates http://www.xlr8r.com/news/2015/06/om-unit-announces-2015-u-s-tour-dates/ http://www.xlr8r.com/news/2015/06/om-unit-announces-2015-u-s-tour-dates/#comments Sat, 27 Jun 2015 01:39:00 +0000 http://www.xlr8r.com/?p=94334 UK jungle enthusiast and Cosmic Bridge label boss, Om Unit, will tour the US and Canada next month in support of his latest release Torchlight Vol. 1.

The tour kicks off with a date in Boston at Phoenix Landing, and goes all the way to Merritt, BC, Canada as a part of the absolutely stacked Bass Coast Festival lineup. The tour will come to a close with a huge string of shows on the west coast, including a four day bender that starts on Thursday in Los Angeles for Respect, and eventually comes back to CA for a nightcap at Stamina Sundays in San Francisco. All of the shows are in support of Om Unit's new releases scheduled to come out on his label, Cosmic Bridge.

Torchlight Vol. 1 is scheduled to be released July 31 on limited edition 12” vinyl and digital download via the Cosmic Bridge Bandcamp page.

Om Unit US Tour Dates:

09-Jul-2015: Boston, USA Phoenix Landing (Elements)
11-Jul-2015: British Columbia, Canada Basscoast Festival
16-Jul-2015: Washington DC, USA Zeba Bar w/ DJ Earl
17-Jul-2015: Edmonton, Canada Pawn Shop Live (Future Roots) w/ Sam Binga
18-Jul-2015: Houston, USA Gritsy w/ DJ Madd + Tunnidge
19-Jul-2015: Austin, USA Barcelona (Mad Classy)
23-Jul-2015: Los Angeles, USA The Dragonfly (Respect DNB)
24-Jul-2015: San Diego, USA Kava Lounge
25-Jul-2015: British Columbia, Canada Motion Notion Festival
26-Jul-2015: San Francisco, USA F8 (Stamina Sundays)

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Premiere: Stream a Track From NAP's Debut Release on 1080P http://www.xlr8r.com/news/2015/06/premiere-stream-a-track-from-naps-debut-release-on-1080p/ http://www.xlr8r.com/news/2015/06/premiere-stream-a-track-from-naps-debut-release-on-1080p/#comments Sat, 27 Jun 2015 00:17:08 +0000 http://www.xlr8r.com/?p=94307 Early next month, Colombian-born, Vancouver-based Daniel Rincon (a.k.a. NAP) will release his debut album, Uncharted, via 1080p.

The nine-track outing finds Rincon exploring "proto IDM and rhizomatic house and techno" with the same fervour and warm touch he applied to his previous guitar-based noise projects. With the production help of Jesse Creed (The Passenger) and Sophie Sweetland (D. Tiffany), Uncharted playfully traverses through a range of left-field electronic spaces, taking in lo-fi house, slowed-down machine-like funk, and rhythmic ambient explorations. With his weapons of choice being the cheapest guitar pedals, grooveboxes, and synths he could find, Rincon has crafted a hazy, smoke-filled sonic space that invites continued exploration.

Ahead of the July 7 release date, you can stream fragile opening cut "Urban Fare" in full below, with Uncharted available for preorder here. Additionally, NAP will be performing at a handful of European tour dates, which you can also find below.

Tour Dates:
July 18 F Lille - Le Rouge
July 20 B Brussels - Bal National
July 24 DE Frankfurt - Café Koz
July 25 DE Kassel - Magic Garden
July 30 DE Dresden - tba

July 31 DE Chemnitz - tba
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Howling Launch Sacred Ground Album Tour http://www.xlr8r.com/news/2015/06/howling-launch-sacred-ground-album-tour/ http://www.xlr8r.com/news/2015/06/howling-launch-sacred-ground-album-tour/#comments Fri, 26 Jun 2015 23:33:44 +0000 http://www.xlr8r.com/?p=94288 After successfully releasing its debut album, Sacred Ground, in May, Howling will now plunge into an international tour with shows in Germany, London, and North America. The tour runs though July and August, with their U.S. debut taking place in New York at Output at the end of July.

The live duo consists of The Acid's frontman, Ry X, and Âme's Frank Wiedemann. The act quickly exploded onto the scene when Dixon closed his Boiler Room set with the original version of their self-titled song "Howling." Though the track was hardly past the demo stage at that time, the combination of beautifully hypnotic vocals from Ry X, mixed with the flowing soundscapes provided by Wiedemann, turned out to be a powerful and unexpected happenstance.

"It’s a very intuitive process where we fall in love with one element of the song or one element of a thought, and we follow that until both of those ideas have been met.” – Ry X

After bringing its captivating live show to Europe for festival performances at Nuits Sonores in France and Berlin Festival in 2015, the band performed at a number of infamous ‘Lost in a Moment’ parties hosted by Innervisions. Howling is now set to make its North American debut with dates at Output in New York, and at local Los Angeles art warehouse, Lot 613.

You can purchase tickets to the show in LA by clicking here, and you can get tickets to the show at Output via ticketfly by visiting their website.

Sacred Ground Album Tour Dates:

7.11: Sacred Ground Festival - Brussow, Germany
7.14: Take it Easy - Milan, Italy
7.16: The Cann - Stuttgart, Germany
7.18:  Lovebox Festival - London, UK
7.19: MELT! Festival - Ferropolis, Germany
7.29: Output - New York, NY
7.31: Lot 613 - Los Angeles, CA
8.20: Schoener Alfred Essen, Germany
8.21: Lowlands Festival - Holland
8.22: Pukkelpop - Belgium

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Premiere: Stream the New Sawf EP in Full http://www.xlr8r.com/news/2015/06/premiere-stream-the-new-sawf-ep-in-full/ http://www.xlr8r.com/news/2015/06/premiere-stream-the-new-sawf-ep-in-full/#comments Fri, 26 Jun 2015 16:42:49 +0000 http://www.xlr8r.com/?p=94368 Greek producer Sawf, a core member of the Modal Analysis roster, is scheduled to release his latest work, the Sonic EP. The Sonic EP is a stunning four-tracker with a clear intention to interpret an industrial-noise aesthetic from a techno perspective.

"Sonic#1" is a cut from the intro of Sawf’s live set, offering a powerful combo of processed vocals and distorted soundscapes. "Sonic#2" comes as a long and stepping beast that creates the uncomfortable feeling of a horror movie soundtrack. On the B side, "Sonic#3" blends blurry vocals with rhythmic industrial elements on a breath-taking bass-line, while "Sonic#4" presents Sawf’s charisma on impro-noise compositions.

Connected to the release, on July 17 Athens—based event series π will cross the Greek border and travel to Berlin for its first night at Arena Club. π09 is the 9th edition of the series, which comes as a collaboration event between ‘π’ and Samsara Sessions, a London founded party which debuted at Corsica Studios, London in 2014. Featured artists will include Ancient Methods, Sawf, Lower Order Ethics and Modeo. The night will also be supported by 3.14, co-owner of the Modal Analysis label and team co-ordinator of the ‘π’ events.

More information on the event can be found here.

Ahead of the its July release, the Sonic EP can be streamed in full below.


A1: Sonic#1 (Original)

A2: Sonic#2 (Original)

B1: Sonic#3 (Original)

B2: Sonic#4 (Original)

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Dopplereffekt, Roedelius, and Vessel Head up Semibreve Festival http://www.xlr8r.com/news/2015/06/dopplereffekt-roedelius-and-vessel-head-up-semibreve-festival/ http://www.xlr8r.com/news/2015/06/dopplereffekt-roedelius-and-vessel-head-up-semibreve-festival/#comments Fri, 26 Jun 2015 16:24:06 +0000 http://www.xlr8r.com/?p=94295 Back for its 5th edition at the end of October, Semibreve festival has announced its first wave of artists.

Heading up the bill will be pioneering electro duo Dopplereffekt, and electronic music veteran Roedelius—who will celebrate his 80th birthday with a performance featuring Portuguese musicians and a visual artist. The lineup will also include performances by Tri-angle artist Vessel, Heatsick, Klara Lewis, and more.

Focused on creating unique audio/visual experiences, Semibreve will take place at the historically grand Theatro Circo, the modern and cutting-edge arts complex GNRation, and a heritage building Casa Rolão—which was constructed by well-know Portuguese architect André Soares in the 1700's.

For more information, including tickets, head to the Semibreve website.

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Marcel Dettmann and Sasha Head up Electric Island http://www.xlr8r.com/news/2015/06/marcel-dettmann-and-sasha-head-up-electric-island/ http://www.xlr8r.com/news/2015/06/marcel-dettmann-and-sasha-head-up-electric-island/#comments Fri, 26 Jun 2015 15:10:07 +0000 http://www.xlr8r.com/?p=94326 Following on from the success of the season opener—which featured sets by Tuskegee (Seth Troxler B2B Martinez Brothers), Pan-Pot, Steve Lawler and Tom Trago—Electric Island has announced its lineup for the Canada Day Edition with Marcel Dettmann, Sasha, Dennis Ferrer, and Lee Foss confirmed.

You can purchase tickets to Electric Island here, with the full schedule and more information available here.

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Only Now "Needs" http://www.xlr8r.com/mp3/2015/06/only-now-needs/ http://www.xlr8r.com/mp3/2015/06/only-now-needs/#comments Fri, 26 Jun 2015 15:00:46 +0000 http://www.xlr8r.com/?p=94319 Fusing tribal percussion, haunting textures, and coarse, tuned metal, Kush Arora's recently launched Only Now project has carved out a jarring, apocalyptic self-titled album that's available now digitally, and on cassette next month via Record Label Records. Pulled from the album is the ritualistic "Needs," a highly atmospheric cut with dense, otherworldly sound design, echoing chants, dub-tinged flourishes, and trance-inducing rhythms that bring to mind the kuduro dance which the project was heavily influenced by. You can purchase Only Now over at the Only Now Bandcamp page, with the limited edition cassette arriving June 2 and "Needs" available as a free download below.


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DJ Koze, Ben UFO, and Voices From The Lake Confirmed for MUTEK.MX http://www.xlr8r.com/news/2015/06/dj-koze-ben-ufo-and-voices-from-the-lake-confirmed-for-mutek-mx/ http://www.xlr8r.com/news/2015/06/dj-koze-ben-ufo-and-voices-from-the-lake-confirmed-for-mutek-mx/#comments Thu, 25 Jun 2015 20:13:47 +0000 http://www.xlr8r.com/?p=94290 Taking place October 21 to October 25 in Mexico City, MUTEK.MX  has announced its first wave of artists for the 2015 edition.

Following the UN's proclamation that 2015 would be the International Year of Light and Light-based Technnology, MUTEK.MX has decided to focus this years edition on "artistic presentations, educational activities and intense experiences will revolve around the physical phenomena of Light." So far, the list of confirmed artists include DJ Koze, Voices From The Lake, Ben UFO, Alessandro Cortini, AR-P, Lotic, Atom & Tobias, Robert Henke presents Lumiére 2.0, and Vatican Shadow, among others.

Early bird tickets will go on sale tomorrow, with more information available here.

MUTEK.MX 2015 from MUTEK Mexico on Vimeo.

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Jackie's House: The Black Madonna and Doc Sleep http://www.xlr8r.com/features/2015/06/jackies-house-the-black-madonna-and-doc-sleep/ http://www.xlr8r.com/features/2015/06/jackies-house-the-black-madonna-and-doc-sleep/#comments Thu, 25 Jun 2015 19:53:09 +0000 http://www.xlr8r.com/?p=94120 Jackie House (a.k.a. Honey Soundsystem co-founder Jacob Sperber) is someone who, besides throwing some of the San Francisco's best parties, can always be counted upon to deliver whip-smart (and often hilarious) commentary about the electronic music sphere without relying upon the stuffy sensibilities and bland dialogue that often governs such discourse. As such, we felt she'd be the perfect addition to the XLR8R team, and are proud to present a semi-regular column, 'Jackie's House,' in which she can banter with artists in her own unique way.

When Mike Servito forced himself into a 7-Eleven taquito coma the Saturday night of Movement weekend 2015 and slept through his assignment to report on a new after-party, XLR8R was shit out of luck. Good thing I am the one they call when they need someone to buy toilet paper.

Club Towelette, a collaboration between the loudest homosexuals in dance-music—Honcho, Macho City, and Wrecked—poo-miered itself onto this year's Movement festival's unofficial after-party circuit. Aside from providing a safe space and pop-up for GLBTQ amateur pharmacologists, the much talked-about romp was to take place in a famous (famous like: try our Famous Cheese Fries or World Famous Gold's Gym) gay bar called the New Menjo's Complex. For many queens, Movement weekend is their yearly "return to the D" (Motor City Pride isn't much the to-doo-doo for ex-ravers) and the thought of being able to do a dance in one of the last standing relics of "a gayer time" pushed the hype off this after-potty.

Club Towelette boasted a nine-person line-up of the who's-who-of-who? of homosexualist boompty, including Detroit hometown hero Michael Trombley, Los Angeles underground queen-pin Chris Cruise, and a ton of other bottoms. But, like every great gay-ish party, the sex rises to the top, and someone has to pay attention to the music. For that job? Doc Sleep and the Black Madonna. Two of America's hardest working women in dance music and the kind of gworls who can handle (or thrive around) the smell of shit and poppers. Being potentially the only reliable sources of information from that night, I set out to interview them both for their take on bio-femming the "Machoncho-muchachos" and the highs and lows of being so celebrated with the gays.

Doc Sleep, the founder of San Fran–based label Jacktone Records, techno producer and decades long waxslinger, met me for a Skype with the needs-no-introduction Black Madonna, who was literally getting her hair done when we called. Excuse me…did—was getting her hair did right when we called...

Jackie House: Hieeeee.
Doc Sleep: Hieeeeeeee.

The Black Madonna: Hieeeeeeeeeee! I'm getting my hair did. I am sitting here stepping into my inner blonde ambition as we speak.

Doc Sleep: Oh my god, I love it. Like platinum blonde? Have you done that before?

The Black Madonna: Oh gosh, yes. I was quite blonde all through the '90s. I was paper-white until like '97.

Jackie House: Literally going back to your roots?

(collective moan)

Jackie House: Just a preface—if anything I ask you two makes you uncomfortable, we can stop at anytime. Or if your roots start burning, Marea.…

The Black Madonna: Oh, honey, I took a Xanax and have a glass of wine.

Jackie House: Ok, well, let's let it loose, so to speak. Set the stage for us, pre–Club Towelette.

The Black Madonna: Well, to give you an idea of where this venue is—at 4am, we had to take the world’s most expensive ride out to Menjos, which of course is in the middle of bum-fuck Egypt. The driver had a look in the rear-view the whole time like "What kind of straight-white people are going out to Menjos at this time of night?" While I was thinking:,who the hell is going to take a 5 -times surge Uber out here with as little energy as the party kids had at that point? To my surprise, we pull up to the Coney Island Dog (the only one open 24 hours) at the end of the universe—and across the street is Menjos, with people everywhere.

Doc Sleep

Doc Sleep

Doc Sleep: I arrived quite early and was fresh as a daisy. I road-tripped to Detroit by way of Chicago with the Honey Soundsystem guys earlier that day. On our way there we did make an extended pit stop so Josh Cheon [of Dark Entries Records] could purchase a sparkly pink hat...a statement piec, in leather fringe and a leather hat. Anyway, I got there around 11, and watched it all unfold. There was no one...and then [claps hands] there were hundreds of people. You could tell by the shape people were in that this was definitely the last stop on their party choo-choo.

The Black Madonna: Yeah, there were some people in some very fine shape.

Jackie House: So the club was based around a theme and we know how much gays love a theme—or a statement cap. It was called Club Towelette.

The Black Madonna: It was not called Towelette.…

Jackie House: It was called Club Towelette, referencing the little known trend that gay men keep moist towelettes in their back pockets for both hygiene and because when you sniff them you can get a temporary head high. You guys have played a lot of gay parties, but maybe you weren't aware of the towelette scene? I mean, were you guys in on the joke?

Doc Sleep: I was kind of hip to it when I started to see guys wearing graphic t-shirts out at clubs. I can't remember what brand of towelette it was but, the t-shirt graphic was in the style of those Rush poppers shirts?

The Black Madonna: Wait, this is literally not a joke?

Jackie House: I mean, I am sure you guys have read or heard the oddball traditions from clubs past, where discos would put moist towelettes in the fog machine, or the club-kid trend of waving your towelette when they loved a track that was playing. You didn't see any of that at the party?

The Black Madonna: Girl, you couldn't see anything because the booth was not even connected to the dancefloor. All I was told was that a lot of straight boys took off their shirts while I was playing—and that really impressed Ryan Smith.

Doc Sleep: I think the moistest towelette moment during my set was from Carlos Souffront, when I dropped “Work It to the Bone”—even in our dark corner booth you could see that towel.

Jackie House: So he was flagging his towelette for you? That's getting pretty big right now, too.

Doc Sleep: Ha ha—sure, Jackie. But Marea is right—it was hard to see because we were cloistered away up in that DJ booth, but I thought the setup was amazing. The dancers were very focused in the other direction, which coincidentally was like witnessing this very talked-about concern in underground dance, for the crowds to "stop staring at the djs."

Jackie House: Edgy! Do you think since the night was so much about breaking conventions that dancers also came with the intention to decentralize the focus and push energy on this symbolically empty stage?

Doc Sleep: That—or they thought drag queens were going to come out onto the stage.

Jackie House: Were there any drag queens in attendance at Club Towelette?

Doc Sleep: I saw some kaftans and heels but I think that is as far as it went.

Jackie House: In fact did you see any drag queens at all Movement weekend?

Doc Sleep: Uh,  just some kids in pink fuzzy boots—RuPaul was busy. And now that I think about it, I am not sure how safe it was for heels at Towelette. It was a skating rink in there.

Jackie House: Explain!

Doc Sleep: Between the transferring of fluids and dripping sweat, the floor was a fantastic hot mess—there must've been towelettes covering all the vents, obstructing the circulation of air.

The Black Madonna: It was the wettest club. At some point, I was sitting against the wall and water was dripping down my back. And as far as the air, there was this “je ne sais poppers.” Something that was everywhere Movement weekend. 2015 will go down as the year that straight kids discovered that poppers rock, and that daddies are hot.

Jackie House: Amen. I mean, other then maybe picking up poppers here and there, it seems as though you two still must get to join in on some very otherwise closed-to-straight-people activities.

The Black Madonna: My favorite thing about playing in these hyper-male gay spaces is that freedom, freedom knowing no one is going to try to grab my tits, and knowing all that other bullshit that happens in clubs is less likely. I luxuriate in the freedom of virtually no one wanting to fuck me when I am DJ’ng these parties. The last time I played in Laboratory, I played without a shirt on—I mean with a bra, but you know I wouldn't do that anywhere else.

Doc Sleep: Aside from the moments a drunk bear hits on me because he thinks I am a dude, as a queer woman in that space I can get away with a lot. The shenanigans get pretty entertaining, especially because they aren't paying attention to me like they are the boys on the floor, or in the booth. There was one night at Honey Soundsystem when it was still at the Holy Cow, and someone told me Peaches was coming, and I thought it would be funny to run with that rumor and within a half hour we had convinced the entire club Peaches was somewhere on the Holy Cow patio, and we had a search party going and everything—a lot of “oops, you just missed her” or “oh, there she goes!” pointing at the back of someone’s head as they walked away into the night—and then, I think a few drinks later, I actually believed my own lies and thought she was really there. But definitely—the Honey Soundsystem shenanigans were in full force at Towelette as well, I’d say.

The Black Madonna: You gotta look out for those Honey Soundsystem shenanigans.

Jackie House: Oh god, they're happening right now.… Speaking of shenanigans, what is the dumbest thing a gay guy has said to you in at a gay club you were headlining at?

Doc Sleep: I was playing in Shanghai and there was this group of British queens, and one of them kept coming up to the booth and saying “Will you play Madonna? Will you play Madonna?” and I kept answering “no, sorry I don’t have that with me.” He was getting really agitated and kept coming up and asking and finally I just said, “Dude I am sorry, I am just not going to play Madonna.” To that he replied: “Oh, well—what are you going to play then…Melissa Etheridge?” and threw his head back, and cackled so loudly you could hear the cackling echo over the sound system. I couldn’t even be mad at him because it was so well-executed—quite a read, quite a cackle.

The Black Madonna

The Black Madonna

The Black Madonna: Probably my favorite moment like that was when I was playing at Snax. The only few women allowed to be in Snax that night I think were like me and Steffi, because as you know, it is a men-only event. After playing one of my sets, my husband and I were in line in the men's room… yes, I took my husband on a date to Snax—and my husband went into a stall and I was now standing alone in line for the men’s stalls in Berghain. This guy comes out of a toilet and walks up to me, sort of wide eyed and very surprised and he said, “Are yoooou ooooooookaaaaaaay?” And I said, “Yeah, I am okay,” and he goes “What is it that you dooo here?” and I said “I am DJing” and he yelled a bit with concern “there are women in this building?” and he was very shocked. We ended up having a very sweet interaction, but it was one of the more interesting collisions for a woman in a safe space for queer men.

Jackie House: I dunno if I would call Snax a “space safe” for anyone.

The Black Madonna: It was safe enough for me.

Jackie House: Well, what may seem to come naturally to you guys is probably not to most women. Similarly, I am sure you guys have done your fair share of adapting to the sometimes-extreme gay environments—becoming comfortable with the colloquialisms and mannerisms of these men. How about this whole “gurl” thing—gay men referring to everyone, gender aside, as “gurl?” I have seen plenty a time where someone taking that, or saying that, in the wrong context has backfired. I can tell you plenty of times I said “gurl” to the wrong guy—even a gay man—and it lit the room on fire.

Doc Sleep: I do my fair share of being “one of the boys,” but there have been times when the language used feels problematic. I was hanging out with a gay guy one time and he kept referring to a trans acquaintance of mine as “gurrrrl.” I finally said to him, “You know, he just went through a lengthy transition and now uses the “he” pronoun.” He basically brushed it off and responded: “Oh gurl! I call everyone gurllll.” Ok, werq, I guess.

Jackie House: I mean it gets even more complicated when a straight man is calling everyone “gurl.”

The Black Madonna: Agh! that one gets me!

Jackie House: Responding to RuPaul-related memes, having to learn new queer terminology and be able to stealthily use it in comments, and potentially purchasing themed outfits or even safety gear for hazardous situations. Let’s talk about this rumor that some artists are asking for more fees ahead of gay events because the exhausting Facebook interaction that is required just to play at one of these events. Oh, and poppers—buying poppers.

The Black Madonna: I’m pretty sure that is a rumor, but anyone who wants to give me money for poppers…they can.

Doc Sleep: I do up my fee when I’m asked to include the hashtag “beardsofinstagram.”.Also, I think the Club Towelette event page on Facebook came close to shutting down the Internet. It was a toilet meme job well done.

The Black Madonna: There was some was some excellent Internet work done by people on this event. There was even a little bit of rivalry between someone who previously threw a toilet-themed party. I’ve never seen more photos, posts, GIFSs in an event page in my entire life.

Jackie House: Well, in the end hopefully, not all of the secrets and fun had by all will end up back on the Internet. Why don’t we end with some thoughts how Movement changed IRL this year?

The Black Madonna: I will tell you one thing, this was the Movement that was all about the after-parties. You saw the same people moving through different kind of events and different kinds of spaces and working together on that. This party was in the middle of nowhere and slamming at 6am, and was a perfect example of that. Jokes aside, the DJ booth at Towelette not centered and people interacting with each other made the party more about the music—and that is exactly how it should be. That is an awesome thing that happened—and, similarly, in many places around Movement that weekend.

Doc Sleep: Our scene in the States is popping off right now, and the after-parties really highlighted it. You can feel the excitement around these parties in Detroit, but, also as you talk to each person about what’s happening in their own city. I also think the fact that Club Towelette was so successful in its first year is not only a testament to the hard work and pull of each of the promoters and DJs in their individual scenes, but also that the gays have momentum, they have respect, and they are throwing parties that people want to go to—not just for drugs, not just to cruise, but, for the music.

The Black Madonna: I gotta go—hair is tingling—I will send you guy pictures of my hair at the end of the night. And don’t publish this without letting me read it.


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Civil Duty Release Debut Album On The Corner http://www.xlr8r.com/news/2015/06/civil-duty-release-debut-album-on-the-corner/ http://www.xlr8r.com/news/2015/06/civil-duty-release-debut-album-on-the-corner/#comments Thu, 25 Jun 2015 18:36:20 +0000 http://www.xlr8r.com/?p=94032 Anthony Parasole continues to stand strong as not only a respected DJ and techno producer, but as a label manager and music taste-maker. Recently, Parasole's been smashing through multiple hour closing sets at Sonar with Marcel Dettmann and other MDR crew, yet he is still finding the time to perfect his craft as the head of prestigious labels like Deconstruct and The Corner. The latest release on The Corner has Beau Wanzer and Shawn O'Sullivan teaming up again for a self-titled album as Civil Duty.

The release is available as a two 12" LP vinyl release, as well as a digital download. Both producers have put in work during the last two years, including a full list of releases by Wanzer, and an untitled release by O'Sullivan on the Brothers label that included a collaboration with Hound Scales (a.k.a. Nico Jacobsen). The new Civil Duty album is undeniably a raw techno journey all the way through, and the upfront tempos and track formation reveal that the duo wield the ability to create a fluid album that holds nothing back. The nine tracks on the album clearly express Civil Duty's desire for constant change and an ability to squeeze new sounds from old forms.

You can purchase digital versions of individual tracks, or grab the entire album over at Hardwax website by clicking here. The vinyl will also be available via Juno Records by clicking here.


A1 No Dexterity
A2 Microtome Massacre
B1 Belial's Night In
B2 Mindhives
C1 Pure Tums
C2 Spiderbites
C3 Fischkopf
D1  Two Door Civic
D2  Pro Emetic


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Velvit Be So Cruel EP http://www.xlr8r.com/reviews/2015/06/velvit-be-so-cruel-ep/ http://www.xlr8r.com/reviews/2015/06/velvit-be-so-cruel-ep/#comments Thu, 25 Jun 2015 18:14:33 +0000 http://www.xlr8r.com/?p=94036 Best known for his work as drum-and-bass don dBridge, decade-spanning producer Darren White has made his long-awaited debut on Dusky and Christian Piers’ label 17 Steps with the dark and soulful three-track EP Be So Cruel, donning his house and techno moniker Velvit for the release. The EP’s title track retains the technical heavy-hitting elements of White’s early productions, but translates them beautifully into a soulful four-to-the-floor hummer, even featuring vocals from White himself.

The track builds a dark groove with thumping kicks and a reverberating bass-line before quickly relenting shortly, returning with light rolling percussion and White's crooning: “You used to say you wanted me, that I was the only one for you.” There’s poignancy in White’s voice as he continues and repeats the chorus of the track, “How could you be so cruel?” with synths swirling above as the track dives ahead. Rounding out the release are tracks "No Excuses," featuring vocals from White's brother Steve Spacek, and "South of Your Soul," with dark electro vibes.

Since being prominently featured in Dusky’s Resident Advisor mix last year, “Be So Cruel” has garnered much buzz and anticipation for the veteran producer, as well as for the young imprint. White justifies the hype and maintains the momentum of prior releases from label bosses Dusky and Piers, offering a fresh contrast to current club sounds with a dark and groove-laden track that is no doubt earning spins on dancefloors across the world.

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Exclusive Interview: Petar Dundov Set to Release New EP on Music Man Records http://www.xlr8r.com/news/2015/06/exclusive-interview-petar-dundov-set-to-release-new-ep-on-music-man-records/ http://www.xlr8r.com/news/2015/06/exclusive-interview-petar-dundov-set-to-release-new-ep-on-music-man-records/#comments Thu, 25 Jun 2015 17:18:44 +0000 http://www.xlr8r.com/?p=94265 Itʼs been almost two years since Music Man released Petar Dundov's third album Sailing Off The Grid on CD and limited 4LP. Heʼs been so busy touring and remixing that after last yearʼs single "Origins/Rise", the two tracks on this latest EP are only the first two new Dundov tracks since the album. Laced with Petar's melodic signature sound, his latest release is a must-have for all fans out there.

Ahead of the EP's release on July 6, XLR8R spoke with Dundov about his lengthy hiatus and how touring feeds his creativity. Snippets of his latest EP are available to stream below.


Over the years, you've managed to build a strong relationship with one of the most enduring techno labels out there. From a creative standpoint, do you feel this was a positive for you? 


I have been working with many labels in the past, under many aliases - for me it was all part of growing up as musician. I always liked various aspects of electronic music and I never restrained myself in trying different things.

During my earlier years, I learned so much about myself and music in general - and as time progressed I slowly started to focus on a particular sound. Sometime during that period, I met people from Music Man and we started releasing records under my real name. We didn't know where it is going to lead us; this was 13 years ago and I was still unknown artist - but they believed in my music and this gave me much needed self-confidence to proceed in my inner exploration. I had complete freedom and this was everything I was looking for.

For me the most important thing was to be able to stay in studio working late hours, focusing on writing good songs, knowing that after it was done, it would find its way to the audience. The label is the bridge between musicians and the listeners, and having one place where they can find you makes it all easier to follow.


Over recent years, your touring schedule has restricted your output to only one solo EP in two years. Is playing live or DJing something that restricts or feeds your creativity in the studio?


I've been constantly on the road for the past two years, playing live or DJing. I did two albums in two years and practically jumped from one tour to another. I did discuss with my publisher as to whether we should do so many releases in quick succession, but I just wanted to put this songs out as they were part of same opus.

Last year I was forced to start to think how to find a way to manage my studio sessions because time became so fragmented. Being able to perform good shows is very important and usually on a trip home I have all this energy from people and my mind starts firing like crazy. I quickly write couple of phrases on my laptop and that is enough for me for to be able to continue where I left off. I have a collection of compositions for the next album but the production process is lengthy because I tend to use complex arrangements. I decided to slow things down with shows to be able to finish the album. In the mean time I did lots of remixes because I could do those in a couple of days during week.

Is there a relationship (sounds, composition or process-wise) between LPs and EPs or do you see them as two completely independent entities?

There is an overlap but these two formats have steadily been becoming more independent for a number of reasons. Firstly, we tend to release albums with a couple of songs that we could repress as separate singles. That is all over now with the introduction of digital distribution. What makes more sense is to take songs from the album and have couple of artists to remix them and then release it as 12". When I am doing EPs I try to think how it will sound in a club or a radio. In this way, songs for singles need to have at least some compatibility with the current stream of music that DJs are playing, otherwise they were not be able to introduce them in their mixes. As a consequence of this, for albums, it is not necessary anymore to structure them around singles. Format gained more space for more narrative, stories could develop a deeper meaning. In a way, this is a positive change.



A / 1. Synchrotonic

B / 2. Holiday In Singularity

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Premiere: Stream the Spencer Parker Remix of Dan Beaumont's "Spirit Talkin'" http://www.xlr8r.com/news/2015/06/premiere-stream-the-spencer-parker-remix-of-dan-beaumonts-spirit-talkin/ http://www.xlr8r.com/news/2015/06/premiere-stream-the-spencer-parker-remix-of-dan-beaumonts-spirit-talkin/#comments Thu, 25 Jun 2015 17:11:59 +0000 http://www.xlr8r.com/?p=94195 Next month, Spencer Parker's Work Them Records will release "Spirit Talkin,'" the latest single from London-based producer, DJ, promoter, and venue owner Dan Beaumont.

The multifaceted Beaumont—who runs Dalston Superstore, Dance Tunnel, the Chapter 10 warehouse parties, and an NTS radio show—delivers a floor-focused house cut with a body-shaking kick, intricate drum programming, and a howling female vocal sample. The original mix is backed up by a "Beaumont Beats" version and the one in question here by label boss, Spencer Parker. Parker ups the tempo, adding energetic chords and refitting the powerful vocals.

Ahead of the release next month, Spencer Parker's remix of "Spirit Talkin'" is streaming in full below.

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Steffi Announces 12" with Remixes by Further Reductions and Answer Code Request http://www.xlr8r.com/news/2015/06/steffi-announces-12-with-remixes-by-further-reductions-and-answer-code-request/ http://www.xlr8r.com/news/2015/06/steffi-announces-12-with-remixes-by-further-reductions-and-answer-code-request/#comments Thu, 25 Jun 2015 16:26:18 +0000 http://www.xlr8r.com/?p=94261 Having just premiered her first ever live set at various festivals, Steffi revisits her Power Of Anonymity album with three completely new versions of "JBW25" by Further Reductions and Answer Code Request.

Brooklyn-based duo Further Reductions left a big impression on Steffi with their 2014 Woodwork LP. Now Shawn O'Sullivan and Katie Rose turned “JBW25” upside down and inside out. The original version's hypnotic synth bleeps are still there, but rhythm-wise their version is a stone-cold and arhythmic interpretation of “JBW25” with additional vocals, pushed to the absolute fringes of dancefloor compatibility.

Berghain resident Answer Code Request contributes two versions to this release: While his “Vision” adds a tough drum beat, percussion and a stronger focus on the ambient textures of the original, his “Revision” is more break-heavy, melodic and dreamy while setting a darker tone and mood overall.

Tracklisting 12” / Digital:

A1. JBW25 (Original Version)

A2. JBW25 (Further Reductions Version)

B1. JBW25 (Answer Code Request Vision)

B2. JBW25 (Answer Code Request Revision)

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813 "Dick Cash And Burger (Pixelord Remix) http://www.xlr8r.com/mp3/2015/06/813-dick-cash-and-burger-pixelord-remix/ http://www.xlr8r.com/mp3/2015/06/813-dick-cash-and-burger-pixelord-remix/#comments Thu, 25 Jun 2015 15:10:43 +0000 http://www.xlr8r.com/?p=94185 At the start of the month, Moscow-based imprint Hyperboloid—the label run by Acid Mafia, Pixelord, and Saburov—released the Body Race EP by "Russian superhero" 813. The EP consists of three glossy, hypercolor originals and a remix by label head Pixelord, who refits the hyperactive and poppy "Dick Cash And Burger" with a more club-focused framework, with rolling percussion skittering around underneath the overly shiny synth work up top. The EP was released on vinyl, with only seven of 100 left, and digital and both are available over at the Hyperboloid Bandcamp page, with Pixelord's remix of "Dick Cash And Burger" available as a free download below.

Dick Cash And Burger (Pixelord Remix)

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Drew Lustman, Throwing Snow, and Oneman Join HORST http://www.xlr8r.com/news/2015/06/drew-lustman-throwing-snow-and-oneman-join-horst/ http://www.xlr8r.com/news/2015/06/drew-lustman-throwing-snow-and-oneman-join-horst/#comments Thu, 25 Jun 2015 13:00:39 +0000 http://www.xlr8r.com/?p=94234 Following on from the first lineup announcement, HORST has added another list of highly regarded audio and visual artists, as well as a stage to be hosted by Red Bull Music Academy.

This wave of artists includes Drew Lustman (a.k.a. FaltyDL), Throwing Snow (live), Oneman, Romare (live), and Nickodemus, among others. HORST has also announced that highly regarded Flemish visual artists and architects Robbrecht & Daem will be designing a "pavilion as a sculpture in the green surroundings of the castle," forming the stage to be hosted by RBMA.

You can find more information on HORST—which takes place September 11 and 12—here.


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AnD AnD RMX 01/02 http://www.xlr8r.com/reviews/2015/06/and-and-rmx-0102/ http://www.xlr8r.com/reviews/2015/06/and-and-rmx-0102/#comments Thu, 25 Jun 2015 13:00:24 +0000 http://www.xlr8r.com/?p=94205 Late in 2014, the Manchester techno tyranny known as AnD put out its debut LP, Cosmic Microwave Background, on Speedy J's Electric Deluxe imprint. The release, a carefully laid-out collection of tracks that stirred the soul and shook the foundations of listeners with its penchant for powerful analog sequencing, was a shrewd, powerful reminder that techno is an ever-evolving presence.  So naturally, when it came time for the remix EPs to get sorted, the duo didn't opt for the most obvious choices to rework their already impactful music—they went a bit deeper, with choices such as Justin K Broadrick, Sleeparchive and Black Rain taking the reins and finding more caverns to explore.

The first of the two EPs has Speedy J and Lucy leading the charge under their Zeitgeber alias, working somewhat in reverse as to what AnD did with their original track. Instead, they tackled it in Zeitgeber style—by stripping it to its bare-bone structure, deconstructing its sequence of events into a dub-techno snowball which grows to an avalanche over an 11-minute run. The track is in stark contrast to Sleeparchive's forward-charging remix of "Power Spectrum." Evoking a cornucopia of his previous sonic endeavors, while begging it to be mixed with the likes of AFX's "Elephant Song," it shimmers brightly throughout its magnificent chaos, serving as the highlight of the first EP. O/H's remix of the same track follows, and while solid, doesn't change up that much from Sleeparchive's momentous rework.

The second EP starts with Broadrick molding his grooves onto "Non Sky Signal Noise," providing a slow-burning, industrialized skitter-bomb that contrasts nicely with the original track's organic matter. However, once Black Rain gets their hands on this material, the mood changes brilliantly. Between the exploratory, distorted, IDM gravitas on "The Surface Of Last Scattering" and dub-laden mischievousness on "Galactic Motion", Black Rain harkens back to a grizzled time in electronic music where the term bangers was subjective. These two mind-numbing remixes add complexities to the original material that let loose the crude curiosity that Black Rain exudes.

AnD already had a strong album to be proud of, which likely made the remixers' work a difficult process. Still, they've managed to provide a good-to-stellar exploration into the outer workings of the duo's tracks, while enhancing and furthering the listening experience to the original album with class and catharsis. It's a good thing when your remixers care—because this is what comes of it.

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Interview: Virgo Four's Merwyn Sanders http://www.xlr8r.com/features/2015/06/interview-virgo-fours-merwyn-sanders/ http://www.xlr8r.com/features/2015/06/interview-virgo-fours-merwyn-sanders/#comments Thu, 25 Jun 2015 13:00:00 +0000 http://www.xlr8r.com/?p=94165 If Merwyn Sanders knows that he’s one of Chicago house music’s most formative producers, he certainly doesn’t act like it. His work with Virgo Four spawned some of the genre’s most formative tracks, and yet still managed to carve out a sound that’s completely different from anybody else.

His career has been a bit of an odd one. The group we now know as Virgo Four—occasionally known simply as Virgo, not to be confused with the Marshall Jefferson project of the same name—was originally composed of two members, Merwyn Sanders and Eric Lewis. The two worked together in the late '80s, and stopped collaborating altogether around 1992. But in 2010, Rush Hour rereleased their 1989 album Virgo, and in 2011, put out a large collection of unreleased material, Resurrection. Virgo Four started to tour again, and it seemed as if Sanders and Lewis had come back together.

But in a 2013 Resident Advisor article, it was revealed that Merwyn Sanders and Eric Lewis had split two years earlier, and that Lewis had been touring as Virgo Four against Sanders' wishes. Lewis used his cousin as a replacement for Merwyn on vocals, guitar, and synths, and continued to use all the promotional materials that featured Merwyn’s name and face. It was only after the RA article was published that Eric updated the Virgo Four site to say: “The clock's rolled on and Merwyn's pursued a different musical path, but Eric and new recruit Terry Ivy are continuing the legacy without missing a step.”

Here, Merwyn Sanders finally gets to tell his side of the story, as he gears up for a live set under the Virgo Four moniker at New York's weekly Warm Up party at MoMA PS1.

Could you tell me a little bit about what goes into your live sets?
Everything is hardware. Instead of any backing tracks, I’m doing everything live through a guitar, groove boxes, synth modules, and drums machines. I tried a laptop, and I know a lot of people use Ableton Live now, but I didn’t feel that a laptop would encompass “live.” For this show, it’s actually going to be three people: My wife handling the drum machine and synth module; Aaron Rivera, who is great on bass and also plays synth; and then myself. I’ll be able to do all the other keyboard parts on my guitar, as well as the vocals.

merwyn sandersHow similar is that to the way you make music in the studio?
Back in the day, we were high school kids and we didn’t have a ton of cash so we got what we could. I started off with a Roland Juno 1, and then later on, Eric wound up getting the Juno 2 as well as the Roland 505 drum machine. We actually wanted more expensive gear—which is interesting, because now we’re associated with the sound of those old keyboards, and everybody is trying to get back to that analog sound. We didn’t use a sequencer very often, we were always sequencing through the drum machine. We would play our parts live and then just record it. Most of the tracks I did alone or by myself, and then maybe Eric would add another part later.

Could you talk about your vocals? A lot of live Chicago house vocals seem to draw from soul and gospel, but your vocals feel a lot more in line with U.K. new wave, particularly on songs like ‘Never Want to Lose You.’
“Never Wanna Lose” was my answer to Chicago Syndicate’s “Move Your Body.” My vocals ended up the way they did because I couldn’t sing. I had no formal practice or training, I was so into just the music aspect. I wanted to sing because I felt that it was a necessary part of music and performing. And the confidence wasn’t there too—singing is so much about confidence—and if you don’t feel good about how you sound, or how you’re singing, it’s not going to come out well. So what you’re hearing on that stuff is a young kid just not being the greatest singer—it’s that simple. But that’s where the style came from, from new wave music. I loved the way David Bowie sang, those kind of cool male vocals he would do.

Why do you think new wave resonated with so many people in Chicago at this time?
We just listened to so much music. What was happening with DJs at that time was you just used anything you could get your hands on, and play it like a house record. I think at the time the community listened to everything anyway—so when new music, like house music, was starting, it was going to be incorporating everything we grew up on. I remember one time I did a live remix of the Talking Heads track, “Once in a Lifetime.” I was watching that movie Down and Out in Beverly Hills and I’ll never forget. That track came on, and it hit me: That’s a house track!

Ron Hardy was somebody who spun a lot of new wave—could you talk about his influence on you?
Ron had a huge effect because he would do remixes in a way where you would just go wow! People were always saying, “Did you hear what he did with such and such?” And he was my favorite DJ for a while. One mix that really stands out was when he remixed Klein + MBO with “Let No Man Put Asunder." What he did with the vocals on that track really just opened my mind. He just made you think in a different way. For Frankie Knuckles, it was what he played, but for Ron Hardy, it was all about how he played it.I used to get tapes from friends, and then I met him personally before he passed away, to work on the track "It’s Hot."

You were working with Ron Hardy when he died?
He was working with Larry Sherman over at Trax Records to give his input on records for what would work or what wouldn’t. We had heard he was playing our demo of "It’s Hot." I was talking to Larry about putting it out, but then he arranged it so that Ron and I could meet up and talk about some things. Ron had some ideas, so we just met twice over at Trax Records. We would sit down, listen to the track, talk a little bit. I was just more interested in talking about other things, Music Box and all that. I wanted to talk about DJ stuff! Him and Frankie Knuckles were already local legends, so that’s what I wanted to talk about. And he was just a really cool laid back guy. He wasn’t walking around like “Oh, I’m Ron Hardy.” I thought that was really cool, really nice. But then right after, I heard he passed away, and that’s sort of why not much came after that.

“It’s Hot” didn’t wind up getting released until your Resurrection LP with Rush Hour in 2010, right?

How did you guys get set up with Rush Hour records?
Christiaan MacDonald was the label manager at Rush Hour at the time, and he reached out to me when he saw an article written by Jacob Arnold. He said he was interested in rereleasing the Virgo Four album, so I talked to Eric about it and he said, “Let’s do it, why not?” And that went over well, and he asked if we had any other music, and it was like “Yeah!” So we started telling him what we had, and he flew out to Chicago to sit down and go over everything. He just sat and listened, and picked and choose, and that’s how Resurrection came about.

One of the tracks that I think reintroduced you to a lot of people is "Fannie Likes 2 Dance," which was on Joy Orbison’s Essential Mix from last year. Could you talk about that track a little bit?
That track is actually a great example of me not being Virgo Four. I did that in 1999 as me—my other nickname Merle. The first line of lyrics started because I was trying to connect with people who like to dance a lot, like someone who’s in counseling for dancing. So that first line, “My name is Fannie and I like to dance a lot” is written from the place of somebody sitting in a circle at an Alcoholics Anonymous type thing confessing to people that they like to dance, and the rest of the lyrics followed.
I knew it sounded kind of weird, and I even asked a friend, “What do you think about this?” and he was like, “Yeah put it out!” So I went on and did it, and then no response—nothing, not a word. I didn’t hear anything.  So I had those records sitting around, and they started to get mixed in with my other records and I stopped caring about them. I probably resented them, they weren’t being taken care of, and I thought, “Why do I have 200 records sitting here?” I thought maybe I could resell the wax. I threw almost all of them out, but somehow that record lived on. And it just got repressed!

Vinyl records are something that’s essential to the DNA of Chicago House music—how do you feel your records being digitized?
I don’t like DJing with MP3s. I grew up DJing, and I still have my records, and still would prefer to DJ with vinyl. In terms of sharing my music, I’m not an analog purist. I think that’s technology changing growing in different ways. It just gives one more platform to share your music, and ultimately that’s what its about to me.

Is it possible that people might not talk about and remember Virgo Four the way they do unless these tracks had been digitized?
It’s true! And that’s how I try to imagine things.

Something that’s being talked about now is how some of the originators of house music are getting left behind—and there’s a larger issue, since Chicago House music was really important to the black and Latino gay communities.
It was a black and Latino gay community, but I think it was even larger than that. The community was really just about the music, and I think that’s part of what’s missing today. That left-behind thing is something that I talk about a lot with Rodney Bakerr of Rockin’ House Records. The audience doesn’t know that this history goes back 30 years, and people are forgetting about the place this all comes from. But I think there always will be somebody out there who tries to remember it, and tries to bring it back so it does live on.

"Ultimately, what I came to realize is that Virgo Four really is my music."

There’s so much misinformation about Virgo Four—can you clear the air and give everybody a clear idea of how everything went down?
I think if you really look at everything and follow my steps here and there, you can figure out what’s going on just by the music. The first thing is that people should know is that Virgo Four wasn’t our name. Larry Sherman put that on the record without telling us, and once the record was pressed up and printed, we had to go along with it. What else could we do? We weren’t going to not release our first record because we wanted to protest a name change.
The reason he called us Virgo Four was to get the name recognition from the Virgo tracks that Vince Lawrence, Marshall Jefferson and Adonis collaborated on. They did three records as Virgo, so Larry pressed us as Virgo Four. It was decided later with Rush Hour to keep using Virgo Four, because that’s what it was originally released as. But after that, I decided I wanted to split. Most of the Virgo Four stuff was solely me anyways, so I wanted to break away from Eric and just do my own thing. Eric had other ideas that I didn’t want to do, and so after we released Resurrection with Rush Hour, I stopped wanting to perform as Virgo Four.
But ultimately, what I came to realize is that Virgo Four really is my music. People know it as Virgo Four so that’s kind of my legacy. I was never walking away from the music, I was trying to walk away from that name. But, over the past couple of years, I’ve come to realize that people associate my music with that name. That’s why I’ve come back around to doing the Virgo Four tracks.
It’s even weird for me to say “the Virgo Four tracks,” because it’s me. Sometimes people talk to me about Virgo Four in the third person, and it’s strange, because for me it's like…you’re talking about me, Merwyn! I was just trying to be Merwyn, but then I came to realize that people are associating my music with Virgo Four, so I realized maybe I should just embrace it. A lot of people had been encouraging me, “Merwyn, that’s your music, and people know it as Virgo Four—don’t push it away, that’s you!”

Merwyn Sanders, along with Nicky Siano, Cut Copy, Galcher Lustwerk, DJ Richard, and Bobbito Garcia plays Saturday July 4th at MoMA PS1’s Warm Up series.

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XLR8R Event Selections: Robert Johnson, AIM, YAAASSS http://www.xlr8r.com/news/2015/06/xlr8r-event-selections-robert-johnson-aim-yaaasss/ http://www.xlr8r.com/news/2015/06/xlr8r-event-selections-robert-johnson-aim-yaaasss/#comments Thu, 25 Jun 2015 11:00:38 +0000 http://www.xlr8r.com/?p=94235 This weekend, the legendary Frankfurt club Robert Johnson celebrates 16 years with Nina Kraviz, Roman Flügel and Boddika on Friday, and another big lineup with Dixon, Recondite, Gerd Janson, and more on Saturday.

Also this weekend, the inaugural edition of the Montreal AIM Festival will go from Friday until Sunday while taking place at a historic Quebec site on the waterfront 45 minutes outside of Montreal. Lineup includes Four Tet, Kevin Saunderson, Axel Boman, Martin Buttrich, and other international acts, in addition to some of Canada's finest.

In Los Angeles, Firehouse founder and former Hercules and Love Affair vocalist Kim Ann Foxman will play alongside Edu Imbernon at the new forward thinking club series YAAASSS, as co-founder Chealsea Morrisey explains it "a you-be-you house music dance hub that doesn't take itself too seriously except for when it comes to quality of booking".


A Club Called Rhonda, Toronto, Canada
Rhonda Toronto
Robert Owens, Little Boots, Honey Soundsystem…


YAAASSS, Los Angeles, CA, USA
Yaaasss LA
Kim Ann Foxman, Edu Imbernon…

Finest Friday, Berlin, Germany
Tom Demac, Cedric Maison, House of Black Lanterns…

Psycho Disco | on The Roof, Brooklyn, NY, USA
Treasure Fingers, Chordashian, Matt FX...

16 Years Robert Johnson, Frankfurt, Germany
Nina Kraviz, Roman Flugel, Boddika…

- Perpetual Dawn -, Los Angeles, CA, USA
Kid606, Leech…

Sanctuary One, Los Angeles, CA, USA
Paul T, DJ Osamu…

Montreal AIM Festival 2015, St-Andre d Argenteuil, Canada
Tesla Boy, Four Tet…

Flash, Washington, DC, USA
Axel Boman, Dansman…


16 Years Robert Johnson, Frankfurt, Germany
RJ 16 years
Dixon, Recondite, Gerd Janson…

CSD Klubnacht, Berlin, Germany
Starlight & Surgeon, Scuba, Steffi, Virginia…

Montreal AIM Festival 2015, St-Andre d Argenteuil, QC, Canada
Axel Boman, Kevin Saunderson, MightyKat, Tiga…

Flash, Washington, DC, USA
Robag Wruhme…


Montreal AIM Festival 2015, St-Andre d Argenteuil, QC, Canada
Pachanga Boys, Martin Buttrich, Electro Acrylique…

Sundays on The Roof, Brooklyn, NY, USA
Wolf+Lamb, Night Class…

The Panther Room, Brooklyn, NY, USA
Axel Boman…

Piknic Electronik, Montreal, Canada
Floating Points, Chuck Fever b2b Max Hebert…

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MELT! Announces Running Order http://www.xlr8r.com/news/2015/06/melt-announces-running-order/ http://www.xlr8r.com/news/2015/06/melt-announces-running-order/#comments Thu, 25 Jun 2015 00:53:03 +0000 http://www.xlr8r.com/?p=94226 Kicking off next month, Berlin's MELT! Festival has announced its running order, which you can check out here.

This years edition will also be completely cashless, with attendees instead topping up scannable wristbands. In a stance against fraud and ticket scalpers, MELT! has also introduced "Festival Accounts," where you manage your purchased tickets and festival wristbands—which can be topped up with money at home, or at "cashless" venders at the festival.

More information on MELT! can be found here.


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Download a Free Album From Nicolas Jaar http://www.xlr8r.com/news/2015/06/download-a-free-album-from-nicolas-jaar/ http://www.xlr8r.com/news/2015/06/download-a-free-album-from-nicolas-jaar/#comments Thu, 25 Jun 2015 00:09:55 +0000 http://www.xlr8r.com/?p=94228 Today, Nicolas Jaar surprised fans when he released a 20-track album for free via his Facebook page. The album, titled Pomegranates, was accompanied by a note from Jaar explaining the origins of the tracks on the album and the eerie connections to the film by the same name. Jaar also included artwork and photos in the downloadable package, which you can download for free here.

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Premiere: Hear Zed Bias Remix Jabru and Joel Culpepper's "Church" http://www.xlr8r.com/news/2015/06/premiere-hear-zed-bias-remix-jabru-and-joel-culpeppers-church/ http://www.xlr8r.com/news/2015/06/premiere-hear-zed-bias-remix-jabru-and-joel-culpeppers-church/#comments Wed, 24 Jun 2015 19:34:28 +0000 http://www.xlr8r.com/?p=94136 On June 29, DJ-Kicks will release its next 12" bundle, continuing the tradition to pack up tracks exclusively premiered through their renowned mix series. This time around it will be AUS Music founder Will Saul, who curates a beautiful remix package for Jabru and Joel Culpepper's "Church," and Saul's own collaboration with Komon titled "Two For One."

The 12" follows on from John Talabot’s Without You—which featured remixes from Melchoir Productions Ltd, Oskar Offermann, and Mistakes Are O.K—with reworks from AUS favorite Appleblim and the one in question here from Zed Bias. Bias turn his hand to "Church," outfitting it with a booming 808 groove and deftly layering Culpepper's crooning vocals on top. It's a beautifully rolling cut, topping off a release that further shows Sauls curation skills.

You can stream Zed Bias' remix of "Church" in full below, with the full release available June 29 via DJ-Kicks.


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Premiere: Watch a Video for Slam and Gary Beck's "Pressure Lights" http://www.xlr8r.com/news/2015/06/premiere-watch-a-video-for-slam-and-gary-becks-pressure-lights/ http://www.xlr8r.com/news/2015/06/premiere-watch-a-video-for-slam-and-gary-becks-pressure-lights/#comments Wed, 24 Jun 2015 16:39:49 +0000 http://www.xlr8r.com/?p=94127 On June 29, Glasgow techno duo Slam will release a new compilation called Transmissions: Glasgow, paying tribute to their home city's electronic music scene.

Slam team up with fellow Glasgow techno luminary Gary Beck for the lead single, "Pressure Lights," a further nod to the city and its premier party 'Pressure'—also run by Slam and Soma. The slamming, body-moving "Pressure Lights" has now been cut to equally devilish visuals by visual artist and filmmaker Simone Smith.

You can check out the video for "Pressure Lights" in full below, with Transmissions: Glasgow available for purchase here.

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