XLR8R http://www.xlr8r.com Accelerating music & culture Wed, 23 Sep 2015 13:56:32 +0000 en-US hourly 1 Hi-Five: Jacques Renault http://www.xlr8r.com/features/2015/09/hi-five-jacques-renault/ http://www.xlr8r.com/features/2015/09/hi-five-jacques-renault/#comments Wed, 23 Sep 2015 13:00:27 +0000 http://www.xlr8r.com/?p=102471 Jacques Renault ZentrumJacques Renault's been a local New York all-star for years, in part through his production work with Marcos Cabral under the Runaway moniker (they also ran the On the Prowl imprint together), in part because of his relentless Gotham DJing schedule through the mid ’00s to this day, and certainly through Let's Play House, the label and roving party he runs with Nik Mercer. The last few years have seen his national and worldwide profile rise as well, largely through a busy touring schedule and a series of hot four-to-the-floor solo releases, edits and remixes that hit all the right spots. But now Renault's really ready for the spotlight: He's just released his debut LP, Zentrum, on Let's Play House, and it doesn't disappoint. The album—which features an all-star array of friends that includes Cabral, the Rapture's Luke Jenner, Mark Verbos, the Emperor Machine, and a/jus/ted's Teddy Stewart—references classic house and disco, but filtered through his own idiosyncratic prism for a fun set of tunes that's fully of the here-and-now. But Renault has a not-so-dirty little secret—he grew up in the D.C. area not as a dance-music acolyte, but as a fan of hardcore, postpunk and leftfield rock. A stint in Chicago—marked by a job working for the famed Gramophone record shop—helped to bring our young hero to the side of all that is good and right. But once a rocker, always a rocker, at least to a degree—and below, find Renault's five fave (guitar-heavy) seven-inch singles of the ’90s.


Jacques Renault's fave seven-inch singles of '90s.

JawboxJawbox “Motorist"/"Jackpot Plus!” (Dischord Records)
I might as well start off with one of Jawbox's 7"s for Dischord, a label that I was constantly buying from directly with almost every catalog update. I didn’t have a lot to spend, so to mix it up, I’d always pick out something new and something old. Fugazi, Shudder to Think, Flex Your Head, etc. The list goes on. I had a few tapes in the car, too, one of which was Jawbox’s Novelty, an album I know pretty much inside out.




The Make UpThe Make-Up, “Substance Abuse” (Time Bomb Recordings)
Along with Jawbox and Fugazi, I listened to a lot of Nation of Ulysses. I never saw them live, but I did catch the short-lived Cupid Car Club at Fort Reno one summer before the Make-Up started playing a bunch. There were  amazing lineups at the Black Cat and their benefit-type shows. Slant 6, the Cranium, Crom-Tech, etc. all stand out for me, and those shows always felt like such performances. Super-fun, and always a bit different from the other punk shows going on around the city.




MonorchidMonorchid, "Imposter Costume" (Lovitt Records)
This band was birthed from another Dischord fave of mine, Circus Lupus. I missed seeing them live, too, but this hybrid was even better. Killer riffs and serious band presence. They played with the Make-Up, Blonde Redhead and other indie bands from Arlington, Virginia. I used to joke how I saw Blonde Redhead the most because they opened up for so many bands back then. Now I see one of the group's twin brothers in my local grocery store and ask myself, "What are you guys up to?"




Jonathan Fire EaterJonathan Fire*Eater, "Give Me Daughters"/"The Search For Cherry Red" (Deceptive Records)
First time I saw this band was at 9:30 Club. They were different from the other D.C. bands, and I liked that a lot. Sort of like the U.K. bands I was getting into, too. Anyway, this sort of got me more interested in what was going on in New York, what the band scene was like up there. I’d only go to NY for day trips, so I didn’t get to spend that much time there to feel it out, but when I saw the Walkmen years later, at the Bowery Ballroom, it made me miss this band a little bit. I guess that’s how people feel when they see Ian MacKaye or Chain and the Gang.



BerlinBerlin “The Metro” (Geffen Records)
I wanted to include this because it’s actually one of the first 7"s that I ever had. My older sister’s friend gave me a handful of records and this was in the batch. He also gave me my first skateboard and shared stories about the local skate shop, the Sunshine House, and about Ian MacKaye coming in all the time to buy his signature maroon Vans. At the time, I didn’t really get it, and this record didn’t stand up to Henry Rollins or Government Issue, but years later I discovered it again along with Grauzone, Bush Tetras, Human League, Soft Cell, etc., which were pretty much my gateway to my disco-digging.


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Pearson Sound Teases New 12" http://www.xlr8r.com/news/2015/09/pearson-sound-teases-new-12/ http://www.xlr8r.com/news/2015/09/pearson-sound-teases-new-12/#comments Wed, 23 Sep 2015 11:17:06 +0000 http://www.xlr8r.com/?p=103060 Following the release of his self-titled debut album earlier this year, Hessle Audio co-founder Pearson Sound (a.k.a. David Kennedy) reenters the fray with a new 12", Thaw Cycle. Resident Advisor reports that the two-track affair is more club-oriented than the preceding album, and will be self-released by Kennedy on October 16. Until then, EP clips are streaming below.

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Slowburn "First One Back" http://www.xlr8r.com/mp3/2015/09/slowburn-first-one-back/ http://www.xlr8r.com/mp3/2015/09/slowburn-first-one-back/#comments Wed, 23 Sep 2015 02:32:42 +0000 http://www.xlr8r.com/?p=102882 Slowburn (a.k.a. Dave Hargadon and Phil Long) have been putting their name to discerning house and techno cuts for some time now, appearing on renowned labels such as Uzuri and Austere. Their latest EP, entitled LDRX2, sees them return to the Lunar Disko fold for the first time since 2013's Lotus EP, with the end result being every bit as satisfying as the first. The release features the machine driven sounds of each producer individually, as well as their always on-point collaborative productions. Both accomplished producers in their own right, Phil and Dave complete the a-side of LDRX2 with their own individual jams, while the second half of the EP sees them don their collective alias once more. Consummating the LDRX2 package is the b-side track 'First One Back', a final curious listen that only reminds us of the producers talent for churning out top-grade analog house and techno. All things told, this is another top quality package from the Slowburn lads.

First One Back

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Premiere: Stream the New Livio & Roby EP in Full http://www.xlr8r.com/news/2015/09/premiere-stream-the-new-livio-roby-ep-in-full/ http://www.xlr8r.com/news/2015/09/premiere-stream-the-new-livio-roby-ep-in-full/#comments Tue, 22 Sep 2015 23:16:18 +0000 http://www.xlr8r.com/?p=102944 Romanian duo Livio & Roby have announced their debut on One Records with a stunning four track EP, entitled DT Revival.

Having been on the scene for over ten years, Livio & Roby have released on acclaimed labels such as Desolat, Saved and Fumakilla. Making great connections within the dance music elite they were soon signed to Loco Dice’s Artist Alife agency and the success that followed has taken them to all corners of the globe showcasing their dynamic DJ skills and innovative live set.

With their impressive album projects and constant flow of cutting-edge productions, the duo remain one of their nation’s leading acts in the field. Now part of the Lola Ed agency, they have a new collaborative album concept dropping on Desolat in the second half of the year, featuring some of the finest artists operating on our scene at the moment.

Their well known analog live project Premiesku is equally as successful with their debut album Indirect also released on Desolat, and further releases appearing on Apollonia, 2020 Vision and Vakant. Subb-an and Adam Shelton are big fans of their music and more than pleased to have them on board the label.

Ahead of the its September 28 release, the DT Revival EP can be exclusively streamed in full below.

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Watch Haunting New Diamondstein Video for 'Nat Sherman Arpeggiator' http://www.xlr8r.com/news/2015/09/watch-haunting-new-diamondstein-video-for-nat-sherman-arpeggiator/ http://www.xlr8r.com/news/2015/09/watch-haunting-new-diamondstein-video-for-nat-sherman-arpeggiator/#comments Tue, 22 Sep 2015 22:15:35 +0000 http://www.xlr8r.com/?p=102961 Los Angeles musician Diamondstein creates sci-fi soundscapes that blend the lines between Detroit’s techno underworld and evocative soundtracks of independent film. Described as cinematic techno and ‘Deep Score’, this new artists’s dark and dramatic dance music is beautifully realized in his new music video for his first official release titled "Nat Sherman Arpeggiator".

"Nat Sherman Arpeggiator", the first track off Diamondstein's upcoming EP The Ridges, is a powerful, waltzing song that uses slithering synth sequences to create the ominous but spiritual atmosphere at the core of Diamondstein's music. The accompanying video, directed by Jason Michael Roberts, shows a physically pristine dancer transform into a technological deity. According to the director, "The video is about visualizing the whole process of trans-humanism, and giving a face to the spirit behind a conscious machine."

The Ridges EP is scheduled for September 23 release.

Director/Editor/VFX - Jason Michael Roberts
Dancer - Ana Szimhart
DP/VFX - Patrick Lawler
Production Coordinator - Alyssa Fisher
Makeup - Daniela Grasso
Gaffer - Eric Ugland
Assistant Camera - Benjamin Rait
Additional Makeup - Rachel Rostad

Tracklisting: The Ridges

01 Nat Sherman Arpeggiato
02 RE
03 Conversations
04 Whorf
05 The Carving

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Stream Track from Ansome's Upcoming EP 'The White Horse' http://www.xlr8r.com/news/2015/09/stream-track-from-ansomes-upcoming-ep-the-white-horse/ http://www.xlr8r.com/news/2015/09/stream-track-from-ansomes-upcoming-ep-the-white-horse/#comments Tue, 22 Sep 2015 21:00:05 +0000 http://www.xlr8r.com/?p=102891 Having previously released music on Mord, No Logo Music and his own imprint South London Analogue Material (S.L.A.M), techno producer Ansome has joined forces with the staunch techno producer Perc and his imprint Perc Traxs to bring you the severe sound of The White Horse. Bitter, turbulent, rambunctious and razor-sharp are the words that come to mind when listening to this new four track EP. While this form of highly aggressive techno is certainly not for everyone, the production value is spot on and it offers up a new take on “the way techno can be presented in a live context.” Elaborate and brimming with a type of energy that is seldom found in music these days, The White Horse, which is set to release on October 26, is a truly unique EP which is bound to further solidify Ansome’s reputation as a cornerstone of the London Techno scene.

You can stream the track “Dave The Rave” below and be sure to check out more sounds from Ansome by visiting his soundcloud here.

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Event Review: Berlin Atonal http://www.xlr8r.com/reviews/2015/09/event-review-berlin-atonal/ http://www.xlr8r.com/reviews/2015/09/event-review-berlin-atonal/#comments Tue, 22 Sep 2015 19:20:51 +0000 http://www.xlr8r.com/?p=102898 Originally founded by Dimitri Hegemann in 1982 and  officially relaunched in 2013 by Laurens Von Oswald and Harry Glass, Berlin's Atonal festival was held at the abandoned Kraftwerk power plant in Mitte from August 19 through the 23rd. The series of music shows and audio-visual art installations that were at the heart of the festival left behind an impressive and extensive legacy. Although XLR8R missed the opportunity to attend the first two installments of the relaunched fest, its weighty contributions to the music and art worlds are so well known that the festival has turned into somewhat of a cultural institution, making us eager to see what this latest edition had in store for us.


From the moment XLR8R set foot onto the magnificent venue—a concrete, cathedral-like structure, with an atmosphere evocative of a Lynchian film and with a spread of art installations rivaling the infamous MONA museum in Tasmania—the bar was already set extremely high. And how could it not? This is a festival that for many years was at the forefront of the electronic and experimental music and art scene, meaning that it has a lot to live up to. The venue's concrete, open-plan interior, with its exceedingly high walls and pillars, made one feel extraordinarily minute against the immensity of the venue’s backdrop—and even with the obvious careful curation and overall planning of the event, the setting seemed to take a bit of the spotlight away from everything else. This wasn’t entirely a bad thing—but for a festival that was founded on the basis of pushing boundaries, we didn’t feel as though that were the case.

Ugandan Methods

Ugandan Methods

There were a lot of performances that did not live up to the expectations: David Borden and the Mother Mallard Ensemble’s kitschy synths rendition felt too outdated and dull for the occasion, for instance, and Shackleton’s Powerplant premiere was somewhat of a let down. Powell delivered one of his signature, high-energy, industrial-tinged breakbeat-techno sets—it was good, but in light of what the festival stands for, perhaps not adventurous enough. There were still some remarkably beautiful and standout acts worth mentioning. Max Loderbauer and Jacek Sienkiewicz carefully painted beautiful drone soundscapes which paired up with explosive projections in the background, all fitting together impeccably well with the mood of their eloquent set. A set from Regis and Ancient Methods, partnering up as Ugandan Methods, was also a grand success: Theirs was one of the rare performances featuring any beats to speak of, and they delivered a beautiful industrial-techno set that came as a breath of fresh air when contrasted with the rest of the festival’s drone monotonousness.The mise-en-scène of their performance was particularly striking—it was juxtaposed against the stunning cinematography of 1928’s La Passion de Jeanne d’Arc (from director Carl Theodor Dreyer), re-edited in a way that matched the mood harmoniously. However, there were only a few of such standout acts, sadly not enough to compensate for many of the other, unexciting performances as a whole.



There is no denying that Atonal was extremely beautiful. Aesthetically speaking, it was grand, pure and candid. But for as much beauty as was conveyed, many performances altogether felt lackluster at best, leaving us craving for more. Bear in mind, this is a festival whose whole foundation was based on the purpose of providing artists the freedom to experiment freely—but unfortunately, this year fell short of that. While aiming to recapture the avant-garde and countercultural spirit it was once known for, it seemed as though many performers lost their voice, drowning against the surroundings that took the center stage—as if those surroundings were carving out an impossibly huge space to fill. Many of these acts felt similar to one another; in the end they seemed to merge together as one extended, drawn-out, drone soundtrack, one that stretched out for too long a time. The task of differentiating among performances became something of an effort, and perhaps five days was too much for the festival as a whole. We found ourselves questioning whether Atonal’s current popularity lies mainly on the hype surrounding it.

Atonal certainly has the makings of a unique and powerful event—and XLR8R remains hopeful that next year’s edition will be able to deliver more than just an aesthetically pleasing experience.

All photos: Camille Blake

berlin-atonal-2015-©-camille-blake-11berlin-atonal-2015-©-camille-blake-58berlin-atonal-2015-©-camille-blake-3 berlin-atonal-2015-©-camille-blake-29  berlin-atonal-2015-©-camille-blake-78 berlin-atonal-2015-©-camille-blake-82 berlin-atonal-2015-©-camille-blake-95 berlin-atonal-2015-©-camille-blake-124 berlin-atonal-2015-©-camille-blake-137

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Premiere: Hear Lucretio Remix IDGA's "No Glitter" http://www.xlr8r.com/news/2015/09/premiere-hear-lucretio-remix-idgas-no-glitter/ http://www.xlr8r.com/news/2015/09/premiere-hear-lucretio-remix-idgas-no-glitter/#comments Tue, 22 Sep 2015 17:07:20 +0000 http://www.xlr8r.com/?p=102884 Italian electronic music producer IDGA will drop his No Pictures, No Glitter EP via the vinyl-only 51Beats imprint at the end of the month.

Driven by analog machines, and with the Italian artist's typically dark and gritty stamp on it, the EP is a masterclass in functional, club-focused minimalism; splatterings of acid run wild atop drum-machine rhythms and coarse, swirling pads. IDGA's two originals, "No Pictures" and "No Glitter," land backed by a remix from Lucretio of The Analog Cops, who twists the deep textures of "No Glitter" into a slamming slab of raw analog house.

Ahead of the EP's release on September 30, you can stream Lucretio's remix in full below.

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Emika launches Kickstarter campaign for 'How To Make A Symphony' http://www.xlr8r.com/news/2015/09/emika-launches-kickstarter-campaign-for-how-to-make-a-symphony/ http://www.xlr8r.com/news/2015/09/emika-launches-kickstarter-campaign-for-how-to-make-a-symphony/#comments Tue, 22 Sep 2015 16:31:38 +0000 http://www.xlr8r.com/?p=102713 Following on the heels of her 2015 album, DREI, producer and composer Emika is now launching a Kickstarter project to fund her first-ever symphony, to be recorded by the 70-piece Prague Metropolitan Orchestra. She's calling on her fans to help her bring the project to life, with rewards including 1-on-1 Skype production tutorials, contributor credits in the album notes, or a trip to Prague to see the album being made and dinner with the composer herself. How To Make A Symphony is setting up to be Emika's most ambitious project yet, with the help of soprano vocalist Michael Srumova, and Emika herself composing and producing the entire score.

You can find out more about the project by watching the Kickstarter campaign video below, and you can find out more about the donation reward levels by clicking on this link.

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Podcast 405: Ricardo Tobar http://www.xlr8r.com/podcasts/2015/09/podcast-405-ricardo-tobar/ http://www.xlr8r.com/podcasts/2015/09/podcast-405-ricardo-tobar/#comments Tue, 22 Sep 2015 15:39:22 +0000 http://www.xlr8r.com/?p=102780 At the risk of repeating, we here at XLR8R have the good fortune of hosting yet another exquisite mix—this one coming from the hands of the Chile-born, Paris-based Ricardo Tobar. Previously releasing on Riley Reinhold's Traum Schallplatten and James Holden's Border Community labels, among others, his latest work—titled, succinctly enough, Collection—came out this past May, and like much of his music, its songs are rich, highly textured and emotive, often treading the area between heavenly, almost shoegazey bliss and rough, rugged grit. And that's what you get in the below mix as well: Celestial synths undulate over rough-hewn rhythms, while bursts of uplifting melody break through shards of electronic rattle. It's an enthralling, adventurous and fulfilling set, one that we suspect we'll be coming back to often.

VIDEO: Ricardo Tobar discusses his XLR8R podcast. 

01 Roman Flügel “Occult Levitation” (Dial Records)
02 Prof. Delacroix “Cupid” (Deepblak)
03 Fx Mchn “Art 2 Mouse” (London Housing Trust)
04 Thom Yorke “Guess Again!” (Landgrab)
05 Kyle Hall “Dr Crunch” (Wild Oats)
06 Ghost Culture “Giudecca” (Factory Floor Remix) (Phantasy)
07 Avus “Hill of Beans” (Passive Front Records)
08 Jonathan Kusuma “The Grand Search” (I'm a Cliché)
09 Francis Bebey “Forest Whistle” (Daphni edit) (Born Bad Records)
10 Errorsmith & Mark Fell “Cuica Digitales” (Pan)
11 Marcos Cabral “Man's Job” (Crème Organization)
12 Tobar “Mountains Are High Enough” (no label)

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Premiere: Stream the Video for Robag Wruhme's Remix of Coma's New Track http://www.xlr8r.com/news/2015/09/premiere-stream-the-video-for-robag-wruhmes-remix-of-comas-new-track/ http://www.xlr8r.com/news/2015/09/premiere-stream-the-video-for-robag-wruhmes-remix-of-comas-new-track/#comments Tue, 22 Sep 2015 11:00:04 +0000 http://www.xlr8r.com/?p=102857 Following last week's Lora EP, Coma have now released the video for the Robag Wruhme remix of lead track "Lora," which can be streamed in full below.

Lora EP was released September 18 via Kompakt.


01/A1. Lora
02/A2. Lora (Pional Mix)
03/B. Lora (Robag Wruhme Mix)

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Breaking News: Function to Perform at dB Conference Closing Party During Decibel 2015 http://www.xlr8r.com/news/2015/09/breaking-news-function-to-perform-at-db-conference-closing-party-during-decibel-2015/ http://www.xlr8r.com/news/2015/09/breaking-news-function-to-perform-at-db-conference-closing-party-during-decibel-2015/#comments Tue, 22 Sep 2015 11:00:02 +0000 http://www.xlr8r.com/?p=102754 This weekend, as part of our annual trip to the Seattle-based immersive electronic music experience known as Decibel, XLR8R and CreativeLive have just announced that they have teamed up with Decibel Festival to celebrate the end of dB Conference 2015 and kick off the festival weekend with an exclusive online performance.

Immediately after our official dB Conference panel "How to Get your Music Heard," taking place on Friday at 4:30pm PST at The Crocodile, XLR8R and CreativeLive will be offering up a live broadcast on XLR8R TV, featuring a performance by Berghain resident and Infrastructure New York label boss, Function.

Decibel is offering this event as a free show to the community, and with the help of CreativeLive, the show will  broadcast directly on XLR8R. Join us in person at the Crocodile in Seattle, WA at 5:30 PM or tune in live right here on XLR8R. You can also join us for our Official Afterhours party taking place at Q Nightclub, as part of the Decibel 2015 program.

RSVP for the live broadcast by clicking here:

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Aphrohead Resurrection http://www.xlr8r.com/reviews/2015/09/aphrohead-resurrection/ http://www.xlr8r.com/reviews/2015/09/aphrohead-resurrection/#comments Tue, 22 Sep 2015 09:00:03 +0000 http://www.xlr8r.com/?p=102736 A recent poll of millennial-generation electronic-music consumers reveals that for many of them, Felix da Housecat is most known for his electroclash-era work, notably the scene-defining Kittenz and Thee Glitz album. Admittedly, this was a somewhat unscientific survey—we basically asked a few friends—but it still points to a problem for the man born Felix Stallings Jr.: When you make something as iconic as Kittenz and Thee Glitz and songs like "Silver Screen Shower Scene" and "Madame Hollywood," it can be difficult for fans to think of you as being capable of doing anything else. Admittedly, Stalling's version of electroclash was a bit more thoughtful than that of, say, A.R.E. Weapons or Avenue D (though we'll admit a soft spot for the latter's "Do I Look Like a Slut?"). But the Windy City native has a reach that extends far beyond the surface-sheen charisma of his early ’00s material; some of his ’90s house and techno releases, in particular, were inspired and inspiring. His 12-inch output under various names on such seminal labels as Strictly Rhythm and Djax-Up-Beats; albums like 1995's Metropolis Present Day? Thee Album, a sublime, contemplative long-player that, for many, stands alongside Larry Heard's most emotive music of the same era; and not least, his rough and raw, technoid output under the Aphrohead moniker—these all demonstrated that Stallings, as much as anyone, understands the power and potential of the 4/4 beat.

After a decade and a half of dormancy, the Aphrohead name was brought back for last year's "Grown Man Cry"; released on Crosstown Rebels, the track was a straight-up, no-messin'-around techno charger, one which bode well for a promised Aphrohead album. And now we have it: the aptly named Resurrection, also put out through Crosstown, has just hit the shops. To call it a "return to form" isn't quite right—you won't get that shock-of-the-new buzz that older clubbers felt when the early Aphrohead tracks were first played in the clubs, and Stallings has never really slowed down anyway—but still, Resurrection shows that he still knows his way around a gritty rhythm. As you might expect, it's an album brimming with the spirit of house's early days—but it's imbued with that spark, that special frisson—that pizzazz—that  Stallings brings to most everything he touches.

Stallings's called the music on Resurrection "train music," and that pretty much nails it; most of these tracks come rattling down the rails with a chugga-chugging vibe that, at least for four-to-the-floor fans, will be immensely appealing. The album leads off with "KlymaXXX," a song that with its new-wavy, vaguely Euro melodic sense feels like a toughened-up version of his early '00s output. It's a fine tune, but things really get rolling with the next cut, "Come to Me" —with its ascending bassline, eerie spoken vocals and lo-fi sound, it could pass for a lost Nu Groove classic. The distorted kick, rat-a-tat snare and bare-bones minimalism of "Let's Prance" would kill over a big sound system (the Radio Slave & Thomas Gandey remix already has, at pretty much every big festival we've been to over the past few months); the equally stripped-down but marginally weirder "Elevator (I'll Take The Stairs)" is a industrial-age theme song of sorts, all clattering percussion and angular synth lines; and "Medusa," not to mention pretty much the entire last third of the album, is forceful, burly, relentless techno. Resurrection may not be as seminal as Stallings's early work (what could be?), nor will it prove as iconic as Kittenz and Thee Glitz—it's a stellar set of sturdy, pure club music, nothing more and nothing less. But Aphrohead is back—and for that, we're thankful.

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Video Premiere: Watch a New Video from Benjamin Damage on 50WEAPONS http://www.xlr8r.com/news/2015/09/video-premiere-watch-a-new-video-from-benjamin-damage-on-50weapons/ http://www.xlr8r.com/news/2015/09/video-premiere-watch-a-new-video-from-benjamin-damage-on-50weapons/#comments Tue, 22 Sep 2015 08:00:53 +0000 http://www.xlr8r.com/?p=102725 As the collective music world gathers together to say farewell to 50WEAPONS, the Monkeytown sub-label that has treated us to productions and remixes from the likes of Truncate, Marcel Dettmann, and FJAAK, we can rejoice in the fact that there are still a couple more releases to come from the label as it navigates towards a closing date at the end of this year. The final full-length album to be delivered on 50WEAPONS comes out this Friday, and is from none other that Benjamin Damage, the first artist to release on the label other than Modeselektor. Following this LP, 50WEAPONS will prepare the final releases on the label, including an box set that comes with 11 different 12" records and a custom USB stick that is available for pre-order now. To celebrate the upcoming release of the Benjamin's album, XLR8R is proud to debut the music video for the single "Pulse Width," directed by Konx-om-Pax & Michael Tan. The video also includes exclusive album art created by Stefan Endress. The video and song represent all of the emotion and style that we have come to love from 50WEAPONS, and we couldn't be happier to help debut this piece of art, for all the world to see.

You can pre-order your copy of Obsidian right now by visiting Monkeytown website, and "Pulse Width" is now available for immediate download when pre-ordering the album on iTunes. You can check out the glorious video for "Pulse Width" by clicking on the player below.

Pre-Order here:

iTunes: http://tinyurl.com/pa7wq49
Vinyl: http://tinyurl.com/nwybjha
CD: http://tinyurl.com/pxng4sh

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Silk 86 "Dem Curves" http://www.xlr8r.com/mp3/2015/09/silk-86-dem-curves/ http://www.xlr8r.com/mp3/2015/09/silk-86-dem-curves/#comments Tue, 22 Sep 2015 01:48:02 +0000 http://www.xlr8r.com/?p=102807 London-centric beat-makers Finn Casey and Thomas L are the faces behind the new Silk 86 project that is responsible for tracks such as "Buying Time" and "Could This Be", which were featured on its last EP giveaway, "On The House Vol.1." Having cut its teeth over the last decade DJing and promoting in the underground scene of East London, Silk 86 resolved to disregard genre stereotyping in favor of incorporating its eclectic musical background as its calling card. A cultured upbringing drenched in hip-hop has brought together a unified ethic to the sound, with a penchant for smooth basslines, hypnotic synths, and crisp percussive cuts that highlight a production prestige and confidence that outweighs its years. Picking up where it left off, On The House Vol. 2 features seven new tracks from the duo available for download right now. On The House Vol. 2 kicks off with 'Dem Curves,' which premiered on Radio One via George Fitzgerald's residency show. The full package features a host of original works that you can grab by heading over to their website.

Silk 86 will also continue its residency at XOYO over the year, with the next date falling on October 3rd with Carl Craig & Busy P.

Dem Curves

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Premiere: Stream Kasra V's Latest EP, Atlantis, in Full http://www.xlr8r.com/news/2015/09/premiere-stream-kasra-vs-latest-ep-atlantis-in-full/ http://www.xlr8r.com/news/2015/09/premiere-stream-kasra-vs-latest-ep-atlantis-in-full/#comments Mon, 21 Sep 2015 18:28:40 +0000 http://www.xlr8r.com/?p=102712 Tehran-born Kasra V's sophomore EP, Atlantis, will land on the vinyl-only LIPS imprint on September 28.

Now based in London, Kasra's built a strong reputation as a DJ off the back of his bi-weekly ‘Paradise’ show on NTS
Radio, and his various residencies around London's underground circuit. Launching into the production realm with his debut EP, The Persian Prince—also released on LIPS—Kasra now returns with the three-track Atlantis, an EP filled with the sort of off-kilter, balearic-tinged grooves he has built his name off. Fusing samples, stirring sound design, dubby basslines, and cosmic synth work, Atlantis presents three varied and world-class cuts of old-school indebted house.

Ahead of its release on September 28, Atlantis can be preordered here, with all three cuts from the EP streaming in full below.


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Event Review: Oasis Festival http://www.xlr8r.com/reviews/2015/09/event-review-oasis-festival/ http://www.xlr8r.com/reviews/2015/09/event-review-oasis-festival/#comments Mon, 21 Sep 2015 17:31:18 +0000 http://www.xlr8r.com/?p=102630 It’s very rare that a festival finds the right formula for its first edition—and Oasis in Marrakech is no different. Hosted inside the rather luscious grounds of the Fellah Hotel, a luxurious location that encompass both a small farm and several impressively adorned villas, the opportunity is there for an event to find a comfortable home in a heavily saturated market—but there are a number of issues that must first be resolved.

For the sake of convenience, I shall begin with the negative—most notably the production. The entire event was small, with no more than 2,000 people— many wealthy English and French—coming through the gates each day, spread between just two stages: Desert Oasis and Bamboo Arena.

While the presence of a large swimming pool in the former lent itself to a great Ibiza-like mid-afternoon party, allowing people to lounge around and cool off with the likes of Gerd Janson or Axel Boman spinning the discs, this set-up did not transfer to the later hours when the sun had set. In effect, there was no real dancefloor besides a small dusty area positioned almost directly below—but almost completely out of sight of—the DJ booth, which is placed high up in one of the neighboring villas. The DJ could not see the crowd, and the crowd could not really see the DJ—and this disconnect created an atmosphere of banging techno music that was almost entirely absent of any sort of if narrative or intimacy.





On the flip side, the sound, provided by multiple Funktion-One stacks, was very good—much better than that of the Bamboo Arena, a small, intimate stage nestled within a small woodland that could have used more speakers directed towards the center of the crowd. Similar questions must also be asked of the location of the DJ booth: The small island in the middle of the dancefloor could not have been more perfect for a festival focal point, and would have allowed the crowds to wander around the stage. Provided capacity for the festival was increased slightly, this would then serve as a magical area to experience the music.

Related to the above (and something that could also be easily addressed) is timing. Make no mistake: The setting of Oasis festival is nothing short of spectacular, with the clear night skies and the beautiful Atlas mountains perched on the horizon—but the organizers should exploit this by extending the hours until after sunrise. Admittedly, the event already feels long, stretching from 1pm each afternoon to approximately three the following morning, but I have no hesitation in suggesting that it should start and end later, catering for both a sunrise and sunset set. A case could even be made for just extending the hours by allowing allowing DJs more time in the booth. Besides DJ Harvey, who gave a spectacular four-hour show, each artist was restricted to just a two hour window, which seemed rather arbitrary.

The final, though smaller, issues were the extortionate prices of the refreshments and the behavior of the security personnel. It’s only basic economics for festivals to charge more for food and drinks within the grounds, but a price of 100 Moroccan dirham— approximately US$11, £7 or €9—for a regular sized beer seemed excessive. The food—though admittedly delicious and perfectly varied—was similarly priced and left one feeling slightly short-changed—given, of course, the length of the party and the €180 fee for a basic three-day festival ticket.

As for the security guards, they were overzealous in their endeavors. This was evident when three of them positioned themselves in the front of the Bamboo arena, looking out into the thinning crowd. But the problem was really highlighted when they threw—not ushered—out several gentleman for smoking marijuana. Security at these events is paramount for a reason (especially in a developing nation), and they can't condone the intake of illegal substances, but common sense must prevail if there is to be the relaxed vibe that will be so central to the the event’s success.






IMG_7430 (1)

Having read the above, it would be easy to assume Oasis festival’s first edition to be a failure, but there is no doubting that the promoters will be pleased with their work—and rightly so. The organization, from the shuttle buses between the main sites to the accommodations, was great. And, though numerous and of notable, all the aforementioned changes can be made without too much difficulty. The dancefloor problem can be corrected by bringing the stage down from the tower and shifting it 90 degrees (which should actually have been done after the first night of the event)—and the security guards can be instructed to relax, a little more. It must also be said that such changes should be accompanied by an increase in capacity to create more of a festival atmosphere, rather than an exclusive-party vibe.

Credit must also go to the organizers for attracting such a stellar lineup, with particular note going to the likes of Âme, Adriatique and Blond:ish, all of whom played spectacularly. A case could also be made for adding a little bit more variety, but Oasis is never going to compete with the likes of Dekmantel or Sonar when it comes to the range of talents on offer. The Oasis experience is as much about the culture as the music, and so this year's lineup served its purpose very effectively.

Away from all this evaluation, it is a hope of mine that the festival does succeed. Besides the pleasure that it gave to most, if not all, of those who attended, the benefit to the local community must not be overlooked. It goes without saying that the presence of such an event will work wonders for the Moroccan music community, but the benefits stretch well beyond this by providing work in security and hospitality—all of which was locally sourced.

Many first-time festivals will fail because there is no gap in the market, even though they have done the best with their resources. But Oasis is different: The formula is there, but it has just not been properly executed yet. My leaving thoughts are that the founders have stumbled upon a small gap in the market for affluent people who wish to explore the Moroccan delights and have a penchant for electronic, but wish to avoid the large-scale crowds and camping that are so commonly associated with weekend-long music events. Provided the above changes are successfully made, Oasis Festival could turn out to be a great success.

Next year, we shall see.

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Stream and Download a New Mix from DJ Richard http://www.xlr8r.com/news/2015/09/stream-and-download-a-new-mix-from-dj-richard/ http://www.xlr8r.com/news/2015/09/stream-and-download-a-new-mix-from-dj-richard/#comments Mon, 21 Sep 2015 16:54:51 +0000 http://www.xlr8r.com/?p=102705 Shortly following the release of his debut LP Grind on Dial, White Material co-founder DJ Richard has delivered the latest installment of Resident Advisor's podcast series. In keeping with the album's brooding, rough-around-the-edges production style, the mix samples '80s-era Dutch, Belgian, and UK obscurities plucked from the bins at Berlin's Record Loft. RA describes the 75-minute session as "a transmission from the dark corners of the subconscious." Stream it in full and read a brief Q&A with the Rhode Island School of Design alum here.

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Shigeto Set to Release New Intermission EP Next Month http://www.xlr8r.com/news/2015/09/shigeto-set-to-release-new-intermission-ep-next-month/ http://www.xlr8r.com/news/2015/09/shigeto-set-to-release-new-intermission-ep-next-month/#comments Mon, 21 Sep 2015 16:14:15 +0000 http://www.xlr8r.com/?p=102688 Detroit artist Zach Saginaw (a.k.a Shigeto) has a new EP dropping next month via Ghostly International, after a two-year hiatus. This latest project precedes the release of his last full-length on the label titled: No Better Time Than Now, released in 2013.

On why it took him this long to release new material: "I've been on the road for a long time now and also have been working on other projects," he goes on, "I haven't found the next step for me yet. I've been making loads of music as always, but I'm still looking for that concrete new path."

According to a press release, his latest Intermission EP represents: "a snapshot of the artist's transition between ideas and inspiration."

Intermission will drop via Ghostly International on October 30, 2015.


1. Pulse
2. City Dweller
3. Gently
4. Do My Thing
5. Deep Breathing
6. Need Nobody

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Luca Lozano and DJ Sotofett Team Up on 12" for Hypercolour http://www.xlr8r.com/news/2015/09/luca-lozano-and-dj-sotofett-team-up-on-12-for-hypercolour/ http://www.xlr8r.com/news/2015/09/luca-lozano-and-dj-sotofett-team-up-on-12-for-hypercolour/#comments Mon, 21 Sep 2015 12:17:11 +0000 http://www.xlr8r.com/?p=102673 Klasse label funder Luca Lozano will deliver a new EP via Hypercolour on November 20. Over the past year or so, the ever-active Berlin producer has turned out a pair of 12"s with Sex Tags' DJ Fett Burger, plus a joint EP with Mr. Ho on Creme Organization. According to a press release, the forthcoming Gun Fingers finds Lozano paying homage to his early years in Sheffield with "the breakbeats, edits and bleeps of his native city." Two flipside remixes are supplied by another Sex Tags rep, DJ Sotofett, and are reportedly aimed at "those who spend time chasing around motorways in search of the party." View the EP's complete tracklist below, and stream clips here. (via Resident Advisor)

A1 Gun Fingers (Original Mix)
A2 Calling All Dancers
B1 Gurn Fingers Massive Mix By Dj Sotofett
B2 Dj Sotofett's Gurn Redouble Riddim

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Premiere: Stream a Track from the New Eduardo De La Calle EP http://www.xlr8r.com/news/2015/09/premiere-stream-a-track-from-the-new-eduardo-de-calle-ep/ http://www.xlr8r.com/news/2015/09/premiere-stream-a-track-from-the-new-eduardo-de-calle-ep/#comments Mon, 21 Sep 2015 08:23:14 +0000 http://www.xlr8r.com/?p=102652 Just as the work of the Detroit pioneers he's always worshiped, Eduardo De La Calle's music has the rare quality of transmitting universal emotions through simplicity. The Spanish producer has a knack for distilling melancholy with analog machines, and his second release for John Talabot's Hivern Discs is no exception. Nanoscopic Scales features four soothing techno tracks dealing with different facets of his sonic palette, and comes wrapped in a very special artwork by Barcelona-based studio Affaire.

Ahead of the EP's September 25 release, a video to mark the release of the EP and "Format Times" can be exclusively streamed in full below.


Side A
Format Times

Side B
I Think I Love You
Passage 2561

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Deep Space Orchestra "Dream States" http://www.xlr8r.com/mp3/2015/09/deep-space-orchestra-dream-states/ http://www.xlr8r.com/mp3/2015/09/deep-space-orchestra-dream-states/#comments Sat, 19 Sep 2015 01:31:17 +0000 http://www.xlr8r.com/?p=102609 Deep Space Orchestra is the collaborative project of Chris Barker and Si Murray, a team of sophisticated music lovers that are currently based out of the UK. Since breaking on to the scene in 2011, the duo has released successful productions on labels such as Delusions of Grandeur, Quintessentials, and Instruments of Rapture. In 2015, the pair started contributing regularly to the highly eclectic KMAH station radio shows, and completed their debut album entitled Memory, which is due for release on their home-base label, Use of WeaponsNever wanting to sound like a one-trick pony, Deep Space Orchestra conjured up an original mood with its new album, and are now offering up a free download ahead of its album release schedule. "Dream States" is a bass led track that combines a visceral lust for rhythm with a soothing and warm foundation that also has its phasers set to stun. You can pick up a copy of Deep Space Orchestra's Memory LP when it drops on Use of Weapons on September 28.

Dream States

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M/R M/R EP http://www.xlr8r.com/reviews/2015/09/mr-mr-ep/ http://www.xlr8r.com/reviews/2015/09/mr-mr-ep/#comments Sat, 19 Sep 2015 00:00:59 +0000 http://www.xlr8r.com/?p=102566 Growing up in Queens in the pre-Internet ’90s, cross-pollination between sub-cultures was unavoidable, according to Billy Werner; he cites how punks, skaters, ravers, and hip hop heads all seemed to end up dancing at the pioneering NYC techno night NASA, the gathering famously depicted in the cult classic Kids. It’s with that same wide variety of influences that Werner has donned many musical hats over the years: singing for hardcore band Hot Cross, releasing disco-house records as Billy W on labels such as Nordic Trax and Marcos Cabral’s Hamilton Dance Records—and recently, making gritty techno under the alias M/R. Werner debuted the M/R moniker last year with an excellent 12” on Philly-based label Great Circles, eventually catching the ears of longtime friend and L.I.E.S. boss Ron Morelli, who included it in his best of 2014 list.

Prior to any techno debauchery, Morelli and Werner shared numerous bills in New York’s punk-hardcore scene, later sharing the DJ booth on Avenue A in the East Village to play disco and boogie sounds. “I’d been sending Ron stuff over the years, and my M/R stuff may have been a little unexpected for him, but I think the Great Circles release really clicked with him,” Werner remarked. After giving Morelli first crack at new material early in 2015, this 12-inch the result, with three of the new tracks and one older getting signed to the release.

The record's first cut, “Let That Shit Breathe”, is a dark slice of brooding techno with a menacing kick drum pumping; soon. haunting synths saunter in and add some wavy spook. “Just Say No” follows and slows the pace, shifting away from straight 4-4 in favor of a broken-beat laced with rolling swatches of cut-up drums, psychedelic samples and left-field atmospherics to create a heady arresting vibe.

On the flip is the head-nodding “Slinky Kids,” with a scratchy, modulating synth riff in the fore and slow-beat drums providing the backbone for the groove to wander in and out amid bright sonic flourishes. “Coconut Jar” closes out the release similarly to how it started: Dark, nasty four-to-the-floor techno and booming drums give way to a devious synth line laid on top.

All of Werner’s influences come through on this EP, with its four tracks bringing different styles and sonic qualities to the table. Werner’s affinity for kick drums and distorted, over-driven synths  harkens back to his punk DIY days with Morelli, but those influences turn out to be a mere vehicle for a true songwriter’s acumen, one that creates grooves that won’t leave your head. Already tipped as one to watch, definitely stay on the lookout for more M/R material in the near future.

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Ricardo Villalobos Returns to the US for Time Warp http://www.xlr8r.com/news/2015/09/ricardo-villalobos-returns-to-the-us-for-time-warp/ http://www.xlr8r.com/news/2015/09/ricardo-villalobos-returns-to-the-us-for-time-warp/#comments Fri, 18 Sep 2015 18:45:58 +0000 http://www.xlr8r.com/?p=102577 Returning to the US for the second year in a row on November 20 and 21, Time Warp US has announced its 2015 lineup.

Arguably the most enticing addition to the phase one announcement, which includes Luciano, Chris Liebing, Joseph Capriati and Seth Troxler B2B Jamie Jones, is the edition of minimal mastermind Ricardo Villalobos, who returns to the US for the first time since 2011.

Time Warp US will take place across two floors at the awe inspiring Bedford Armoury in Brooklyn, with Time Warp's "Cave 2.0" setup—which you can check out below along with last year's aftermovie—being shipped over from Germany for the event.

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The Lowdown: This Week's Top Posts with Helena Hauff, Mr. G, Dâm-Funk, Novation, Decibel Festival & More http://www.xlr8r.com/news/2015/09/the-lowdown-this-weeks-top-posts-with-helena-hauff-mr-g-dam-funk-novation-decibel-festival-more/ http://www.xlr8r.com/news/2015/09/the-lowdown-this-weeks-top-posts-with-helena-hauff-mr-g-dam-funk-novation-decibel-festival-more/#comments Fri, 18 Sep 2015 17:00:09 +0000 http://www.xlr8r.com/?p=102498 Subscribe to the XLR8R Lowdown

Throughout the week, a whole lot of material gets posted here on XLR8R. And while we know—and love—that some hardcore readers will eagerly pour over every single news story, interview, podcast, video, and MP3 download that appears on the site, we also realize that for most people, it's impossible to see everything. In the interest of making it easier for everyone to catch up, every Friday we present The Lowdown, a weekly wrap-up of the top post from our site. An expanded version of the The Lowdown is also available via our weekly email newsletter.

Podcast 404: Helena Hauff - roBOt Festival 2015 Edition

Helena Hauff doesn’t really fit the mold of the modern-day electronic musician. She continues to reside in Hamburg and actively avoids the limelight; she doesn’t self-promote or even attempt to communicate with her ever-expanding fan-base; you can’t even find her on Facebook, never mind Twitter.

Q&A: Mr. G

Longevity, consistency, and quality don't always go hand-in-hand—but for the U.K.'s Colin McBean, that seemingly comes effortlessly. His career dates back to the early '90s; among other claims to fame, he was the partner of Cisco Ferreira in the British techno outfit the Advent.

Q&A: Dâm-Funk

The spoken-word intro that leads off Invite the Light, the latest full-length missive from Dâm-Funk, comes with a proclamation: "If we invite the light, it will surely come to us," a processed, distorted voice informs us; "if we invite the funk, it will never let us down."

Review: Novation Launchpad and Launchkey 61

Novation’s Launchpad—which has now expanded to Pro, Mini, and app versions—has been a staple in the Ableton world (and the rest of the DAW world, for that matter) for many years now.

Ticket Giveaway: Win a Full Event Pass to Decibel 2015
creativelivedbconference (1)

For over a decade now, Decibel Festival has turned Seattle into an electronic music hotspot for one-week out of the year, showcasing some of the most reputable names in the scene at various locations around the city. Acts being featured this year include Marcel Dettmann, Bonobo, Daniel Avery, Dauwd, Nicolas Jaar, John Tejada, DJ Tennis, Lusine, and The Black Madonna, just to name a few.

News: Kode9 Announces Album Tour Dates for USA

September has been an exciting month for news surrounding Kode9 and his first solo album, Nothing, that is slated for release on November 2.

News: ADE Festival Completes 2015 Program

The nighttime program of the Amsterdam Dance Event (ADE) is now finalised. Between October 14-18, more than 2,000 artists will be appearing at over 340 events across the 100 clubs and spaces that are participating with ADE.

Weekly Selections: Bacchanale Festival, Symbiosis, Club IHC, and Decibel Festival

The inaugural edition of Canada's Bacchanale Festival began on September 6 with Lil Louis and September 16 with Pearson Sound, while its main events take place this weekend at Montreal's Old Port featuring live sets by Octave OnePhuture and Vril, and dj sets by Omar S, Answer Code Request, and others.

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Cooly G ArmzHouse http://www.xlr8r.com/reviews/2015/09/cooly-g-armzhouse/ http://www.xlr8r.com/reviews/2015/09/cooly-g-armzhouse/#comments Fri, 18 Sep 2015 15:47:26 +0000 http://www.xlr8r.com/?p=102459 The title of Merrisa "Cooly G" Campbell’s newest EP, ArmzHouse, is an appropriate one. The release is full of weapons for the club, one that likes its house music the same way it likes pretzels—twisted. This is the first release from the Hyperdub heroine since her last year’s solid Wait ‘Til Night LP, representing a further example of how Campbell is shedding the vocal hooks and keeping the focus on rhythmic balance—and it's one of her most straightforward and more engaging releases yet. Referencing the past, present and purple-laden future, Armzhouse has a ton of momentum behind every intricately-placed kick and snare.

The opener, “Trippin B,” is somewhat of a throwback in tone, but not in formula; it takes elements of classic late-'80s house, incorporates bassline elements from cuts we know and love—and then splices them, breaking apart the connection between the past and present by adding a synth line that’s curiously enticing. The next cut, “Booboo”, adds some signature Cooly vocal bits and pitch-downed sampling, keeping things fervent and formidable in its structure; the result feels like a filtered reverse-funky house track. Which may sound unusual—but one listen and you'll understand. “Waybay” (featuring Marc Perrineau) follows up by playing it safe and simple, not meandering far from the mischievous house path that it’s on.  “Flange City” follows a similar path but falls somewhat flat in its execution; it's a track with interesting elements, yet possessing a narrative that’s not entirely cohesive..

The finale comes via a mercurial magnet of a tune, “Horrors in the Dance”, which tosses elements of grime and funky together on a canvas and makes something spectacularly weird and wonky (in a good way). The tune has a nice callback to previous Cooly G cuts, with her signature kisses stamp kicking off the cut before moving in a direction that we’re familiar with, and finally going every which way to pack a wallop. That’s what ArmzHouse represents, in a way: Campbell is traversing different courses, finagling what works under the Cooly G guise. It’s not perfect, the release has moments that are gratifying and spellbinding. Wherever Cooly G chooses to go next certainly, she'll will have our attention—callbacks, kisses and all.

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LebLaze "Lexus" http://www.xlr8r.com/mp3/2015/09/leblaze-lexus/ http://www.xlr8r.com/mp3/2015/09/leblaze-lexus/#comments Fri, 18 Sep 2015 14:44:56 +0000 http://www.xlr8r.com/?p=102582 Brooklyn-based producer Ryan Rashee (a.k.a. LebLaze) follows collaborations with Prefuse 73 and super-collective Risil—which features members of Hella, Tortoise, Battles and School of Seven Bells—and releases on Asthmatic Kitty and Prefuse's Eastern Developments imprint with When Doves Fly, a bumping, nine-track beat tape on Geographic North. The nine tracks on When Doves Fly present a varied output, with raw, hip-hop instrumentals sitting side-by-side with more experimental synth-laden numbers. In support of the release, Rashee has offered up gritty b-side cut "Lexus," a short and sweet beat-driven outing with a chunky rawness and an infectious head-nodding vibe. When Doves Fly is out now on limited edition cassette tape, as well as digital, over at Geographic North's website, with "Lexus" available as a free download below.


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Vanguard: Roedelius http://www.xlr8r.com/features/2015/09/vanguard-roedelius/ http://www.xlr8r.com/features/2015/09/vanguard-roedelius/#comments Fri, 18 Sep 2015 08:00:34 +0000 http://www.xlr8r.com/?p=102310 The willingness to step into the unknown has been one of the keys to mankind's progress. Whether it's the compulsion of humanity's ancestors to leave the place of their birth to seek fertile lands, or the desire of a theoretical physicist to delve deep intro the intricacies of the universe, the urge to go beyond what is known is essential to the act of discovery. That's as true of the artistic realm as is of any other, and it's been a driving force in the career of Berlin's Hans-Joachim Roedelius. Born in Berlin in 1934, Roedelius was, for a short spell, a child actor; later, in the '60s, he toiled as a physical therapist. But then, he made the leap into uncharted territory: In the final months of that decade, he, Dieter Moebius and  Conrad Schnitzler (of Tangerine Dream, among other claims to fame) formed Kluster, a wildly progressive, experimental outfit—considered one of the early progenitors of what became known as Krautrock—incorporating rudimentary electronics alongside more traditional instrumentation. By 1971, Schnitzler had left; Roedelius and Moebius carried on as Cluster, often collaborating with the likes of studio wizard Conny Plank (and later, Brian Eno) while continually pushing their sometimes jarring, sometimes atmospheric, always fascinating sonic explorations over a series of groundbreaking albums.

Harmonia: Complete Works

Harmonia: Complete Works

"We were learning from point zero," Roedelius recalls of those years. "We created something that wasn’t around before." But his forays into aural experimentation were just beginning. In 1971, he and Moebius moved deep into the idyllic Lower Saxony countryside, along the Weser River, where they were joined by fellow Krautrocker Michael Rother of the band NEU!. The three, after a short period of musical trial and error, formed Harmonia, a group that proved to be at least as influential as Cluster. Both precise and romantic, the band's music had a an idealized, dreamlike feel—one that leaned more heavily on synthetic sounds more than Cluster's recordings ever did—that was pastoral and intimate, yet full of joy and optimism. Their studio albums,  including 1974's Musik Von Harmonia and the following year's Deluxe, are considered touchstones of electronic music to this day; Eno famously praised Harmonia as "the world’s most important rock group." (Not bad for a band that eschewed 99 percent of rock music's trappings.)

After recording what was eventually known as the Tracks and Traces album in 1976—which went unreleased until 1997—Harmonia disbanded. Rother is still playing, but sadly, Moebius passed away this past July—Roedelius, however, is seemingly as active as ever. Working both solo and in conjunction with others, his penchant for experimentation still runs strong—and as if to prove the point, his latest release is a collaborative work with Gotan Project's Christoph H. Müller called Imagori. Released on the Grönland label, it's an album-length set that's rich, warm and occasionally dense, with Roedelius's rippling piano work weaving its way through Müller's electronic backing. And on October 21, Grönland is putting out the sprawling Harmonia box vinyl set Complete Works, with Musik von Harmonia, Deluxe, Tracks and Traces, Live 1974, and Documents 1975 (previously unreleased recordings from Hamburg gigs along with a pair of studio tracks) accompanied by a 36-page booklet, a poster, pop-up artwork, and a download code for the full set in digital form. In the midst of all this activity, XLR8R caught up with Roedelius via Skype; on the eve of his 81st birthday (October 26, in case you are wondering), he was funny, charming, and seems to have lost none of the joy that a career spent exploring can bring.

What was the genesis of Imagori? How did you first meet up with Christoph Müller?
I was working in Paris with some designers on a project called Grateful Vanity. They created two sound sculptures, and they wanted to present it in a special way at this big art center near Paris, so they invited Christoph to come and join me for an improvisational set. We liked what we did so much that we decided to do something else together afterwards.

Müller isn’t exactly a kid—but he does come from a different generation of artist. And you’ve certainly collaborated a lot in the past; much of your career consists of these ever-morphing partnerships. Do you enjoy working in collaboration, and specifically working with younger people?
It’s always been collaboration; Cluster was certainly a collaboration, for instance, and much of what I’ve done since then has been as well. And much of it has been with younger people. Not many people are as old as I am! [laughs] So I guess it’s a bit out of necessity. But I do enjoy working with younger artists.

Christoph Müller and Hans-Joachim Roedelius.  Photo: courtesy of Grönland

Christoph Müller and Hans-Joachim Roedelius
Photo: courtesy of Grönland

Your music, especially your work with Cluster and Harmonia, undoubtedly had a lot of influence on many of those younger artists.
Yes, and I think that’s because what we were doing was so authentic. We were learning from point zero; we created something that wasn’t around before; it was musical actualism, in a way. We were doing things step by step, and had to learn how to do it in a relevant way—relevant to people’s ears. It took a long time to do do it; after Cluster began, I think we needed about three years before we became aware that what we did was becoming something that people really liked.

"We always liked what we were doing—we had our concept, we were developing our own tone language, and we were happy with that from the start."

That must have been quite a fulfilling realization.
It was, even more so because we came from such different professions, none of which were music. Moebius was from graphic design, Schnitzler was someone who worked with metal, and I was a physical therapist. It was a strange base for what we ended up doing afterwards. But we always liked what we were doing—we had our concept, we were developing our own tone language, and we were happy with that from the start. That was a challenging and interesting time—creating something out of a moment, however we were able to do. And I think people could get the feeling that we were having fun doing it.

You really do get a sense of playfulness when you listen to the music. Do you think that because you were starting from a naïve musical viewpoint, that allowed you to develop your music—to create that tone language—in the way that you did?
Yes, and that’s the big difference—because we did it from our own impetus and not someone else’s, we were able to do what we did. We had no plan about what would come out. After time, we became more and more aware of what we were doing, and really liked what we were doing—and at some point, people all over the globe liked it.

You sound a bit surprised at that.
I am. I still am. [laughs]

Going back to Imagori, how did the album’s songs take form?
I had some stuff which was not yet elaborated, and I really though that there should be somebody who could work with it as a base for their own ideas. Christoph was the right person for it; he really like the stuff, and he really was excited to be working with it. He had some time between working with Gotan Project and working with Plaza Francia, and he really got into it. And I think you can see how much he liked it in the result! I like it very much; it’s very different from music that I am usually involved with. And I think it’s different than his music as well.

It’s nice to see your old friend Brian Eno on this album’s “About Tape.”
Yes, it is! It was Christoph’s idea hat we use the words from an interview Eno had done. I was in London, and I met up with Brian and told him, “We did a piece with your text on it!” “Oh, you did?” [laughs] He didn’t even listen to it; he just agreed in the first moment that it was okay.

What did those original sketches that you gave to Müller consist of?
What I gave to him were just these very old things done on very old equipment. There was a lot of things done on piano, and a lot of it was on old synthesizers. It was actually quite diverse.

Do you have plans to continue to work with Müller?
We do. We have already played live together a few times, trying to recreate some of this material but in a different way—to revitalize it. We were remixing our own remixes, in a way.

I’m guessing that you get a kick out of remix culture.
It’s a great culture—I love it. So many good and astonishing projects have come out of it.

"It was a very vibrant time—everything was new, everything was interesting, and everyone around us was deeply into what was going on."

Besides Imagori, you also have Harmonia’s box set, Complete Works, coming out soon. Going back to Eno for a minute, he was quoted as saying that Harmonia was the “world’s most important rock group.” That’s quite a declaration.
Yes. [laughs] David [Bowie] and Brian really like what we were doing. It was around the same time that they were doing Low and Heroes, and we each were influenced by the other. It was a very vibrant time—everything was new, everything was interesting, and everyone around us was deeply into what was going on. Harmonia’s work was quite deep in a way, I think.

And it was hugely influential; you can draw a pretty direct line between what was going on in Berlin and its surroundings back then, and so much great music that came after. Were you guys aware that you were doing important work at the time?
Not really. We just did it. We made [Cluster’s] Zuckerzeit and Sowiesoso at around the same time. We were in a special situation, in the middle of Germany beside the river, and we had to work a lot. We had to go to the forest to cut the wood; we had to grow our own garden. We were really going back to our roots, away from noise and the psychology of the city, and that’s part of what dictated the way that we worked. It was like living in paradise, and that shows up in the music.

It is quite a utopian sound, and that might be why it holds up so well.
I think so. And I hope that this release will get a lot of people to hear it again, or maybe for the first time. And I think Grönland did a great job with this. It’s such a gift for us—and I think it’s a gift for the world, as well. I hope that this brings us a new type of audience…a new generation. I know that a lot of young musicians really like the music, and refer to us as influences.

You worked with Conny Plank on the Deluxe album, and he was also a big part of Cluster’s sound. What was he like?
He was a great guy, and a good, good friend of ours. He was so much more than a sound engineer; he had huge artistic abilities, and had so much input into everything. He wasn’t just a sound engineer—he was a great musician as well. He was on so many important productions, more than I ever was. For a long period of our lives when we were very poor artists, he gave us homes, he fed us…he was hugely important.

He’s one of those guys who was sort of in the center of everything, to the point where modern music may have developed far differently if he hadn’t been around.
Yeah, that is for sure. He was the nucleus of so much.

"There is no split between my music and my private live. Work, family, life…it’s all one."

The name Harmonia fits your music so well. Was it meant to describe the sort or music that you were making?
Well, it was really about the situation in which we were living, in this beautiful place, which was somehow harmonious. Michael Rother is still living there.

Dieter Moebius also was still there, but now he’s not with us anymore. But Michael is still there. You should go there someday!

You left there quite a while ago, and are now living in Austria, right?
I’ve been in Austria since 1978. My wife is Austrian, but the real reason that I left that beautiful utopia is that the nuclear plant upriver broke—and nobody told anybody. Some kids died. Our first child, our daughter, had just come to birth, and when we did find out about what happened, we immediately moved away. And since my wife is Austrian, we moved to Austria—which was really a good step. Getting somewhere new was good, but being in Austria really helped me a lot in so many ways. I got pensions from the state, from institutions, from private people…I wouldn’t have been what most of what I’ve done since ’78 if I had not been in Austria.

Well, thank you, Austria!
Yes, thank you very much, Austria! The kind of support that they give to artists is very important to the Austrian spiritual culture.

When your Sinfonia Contempora No. 1 came out in 1999, you stated “"Since the beginning of my career nothing was more important to me than to find my own musical language. I have, so I believe, eventually found it." Do you still feel that way, or is it an ongoing process?
I found it. I know that what I am doing is me. There is no split between my music and my private live. Work, family, life…it’s all one. I wouldn’t have been able to keep doing what I do if I hadn’t have discovered what it is that I am doing. And I think that the ancestors took the first steps to what I am doing now: Cantors, preachers, teachers and the others have all prepared the way that I am going.

Imagori is out now; Complete Works comes out October 21.

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Nils Frahm & Ólafur Arnalds Prep Collaborative Works on Erased Tapes http://www.xlr8r.com/news/2015/09/nils-frahm-olafur-arnalds-prep-collaborative-works-on-erased-tapes/ http://www.xlr8r.com/news/2015/09/nils-frahm-olafur-arnalds-prep-collaborative-works-on-erased-tapes/#comments Fri, 18 Sep 2015 01:28:54 +0000 http://www.xlr8r.com/?p=102486 On October 30, UK label Erased Tapes will release a collection of music from composers & producers Nils Frahm and Ólafur Arnalds entitled Collaborative Works.

The special 2-CD set will compile the artists' three previous EPs—Stare (2012), Life Story Love And Glory (2015), and, most recently, LOON (2015)—along with seven new, previously unreleased works Nils & Ólafur composed while in the studio filming their short documentary, TRANCE FRENDZ—a film that chronicles their friendship and creative process.

One of the newest pieces streaming from the collection is "Four", taken from the LOON sessions, an ambient journey steeped in melancholic tones recorded straight to 2-track 1/2-inch tape.

LOON will be available individually as a 12" on October 2 via Erased Tapes Shop. The previous 12"s are available now via Erased Tapes Shop & Arnaldsfrahm.com.

For more info on their collaborative process and TRANCE FRENDZ, Nils & Ólafur had this to say:

"The music on this CD is a collection of our studio collaborations from recent years. We would meet in Reykjavik or Berlin with the intention to share some days off work, hiking, swimming or eating pizza. That is great for a couple days, but after a while we would always end up back in the studio, fiddling with synths or pianos. This collection of recordings cannot be an album. It will remain a collage of our studio experiments of the past. It simply is convenient to have them all together here, so you don't need to look out for some limited 10" somewhere or deal with a nerdy record dealer in Japan to track down this one 7 ̋ which will turn out to sound pretty rough anyways... consider them as moments in space and time where we shared the same room for some days to come down and enjoy making music.

After deciding to release the studio collaborations, we planned to do a video session of us performing an improvised duet to promote the release. On the 28th of July 2015 we met up at Durton Studio in Berlin and invited Alexander Schneider and his camera to document it.

But instead of ending the session after the first take we continued improvising throughout the night, ending up with several new pieces written and recorded in eight hours with no overdubs and no edits. We felt there was something special in these songs as they arrived so quickly and unexpectedly, remembering that our friendship and collaboration originally started with live improvisation on stage. At the end of the night we had all this music that sounded unfamiliar even to us, loudly asking to be included in this collection."



01. Four
02. Three
03. Wide Open
04. w
05. m
06. a1
07. a2
08. b1
09. Life Story
10. Love And Glory


01. 20:17
02. 21:05
03. 23:17
04. 23:52
05. 00:26
06. 01:41
07. 03:06


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Matthias Tanzmann Announces 15 Years of Moon Harbour Tour http://www.xlr8r.com/news/2015/09/matthias-tanzmann-announces-15-years-of-moon-harbour-tour/ http://www.xlr8r.com/news/2015/09/matthias-tanzmann-announces-15-years-of-moon-harbour-tour/#comments Fri, 18 Sep 2015 01:19:22 +0000 http://www.xlr8r.com/?p=102485 2015 marks the 15th anniversary of Mathias Tanzmann's Moon Harbour Recordings, a label which has been at the forefront of house and techno since its inception in 2000.

The diverse and ever-evolving label has released a multitude of dancefloor destroying records from artists such as Luna City Express, Sable Sheep, Adam Port, Re.You, Ekkohaus, wAFF, and DJ T., creating a family-like vibe which the label head reflects on: “I was still pretty young when we started the label in 2000, so we have all grown up together for 15 years now. Moon Harbour is like my child. I am happy many artists joined the family or became good friends and that the label has become a home for all of us.”

To celebrate its 15 years, Moon Harbour is embarking on a world tour, as well as an anniversary compilation with exclusive tracks by Moon Harbour artists and friends, along with rereleases of the most successful tracks from the last 15 years.

Upcoming tour dates can all be found below.

Tour Dates:
03.10.15 Supermarket, Zürich (CH)
10.10.15 Die Kantine, Vienna (AT)
11.10.15 Local 29 Sala Passion, Málaga (ES)
23.10.15 Hidden, Manchester, (UK)
1st & 2nd Weekends in USA -TBC
17.11.15 Distillery, Leipzig, Germany (DE)
20.11.15 Sala Marco Aldany, Madrid (ES)
21.11.15 Watergate, Berlin, Germany, (DE)
27.11.15 Juice Club, Bergamo, Italy
04.12.15 Blue Marlin, Dubai (U.A.E.)
11.12.15 Rave On Snow, Saalbach Hinterglemm (AT)
18.12.15 South America - TBC
19.12.15 South America - TBC
25.12.15 Cafe D'Anvers, Antwerp (BE)
January (2016)
01.2016 BPM Mexico -TBC
+ more dates TBA
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Premiere: Hear a Track from Lrusse's New EP on Monologues http://www.xlr8r.com/news/2015/09/premiere-hear-a-track-from-lrusses-new-ep-on-monologues/ http://www.xlr8r.com/news/2015/09/premiere-hear-a-track-from-lrusses-new-ep-on-monologues/#comments Fri, 18 Sep 2015 00:19:00 +0000 http://www.xlr8r.com/?p=102470 Lrusse—Behling from Bristol duo Behling & Simpson—will drop his latest EP, Ynyslas, on Monologues Records on September 28.

Making increasing strides into solo territory, Behling drops three chunky, groove-led cuts under his Lrusse moniker. Kicking off with its bass-heavy, sunshine-tinged title cut, the EP moves through the gritty and sprawling "Cut Through," before ending on the broken beat moody bomb that is "Plus One," with all three cuts beautifully showcasing Lrusse's deft production skills and a first-class variation of moods and ideas.

Ynyslas will be the sixth release for Monologues Records, which was launched by Ben Gomori in January this year with the label podcast, which features artists mixing an hour of their own tracks, with guest such as Peter Kruder, Till Von Sein, Melon, Uffe, Patrice Baumel, and Jori Hulkkonen all providing stellar mixes. Ahead of the EP's official release, you can stream "Cut Through" in full below; with a preorder option available here.

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Weekly Selections: Bacchanale Festival, Symbiosis, Club IHC, and Decibel Festival http://www.xlr8r.com/news/2015/09/weekly-selections-bacchanale-festival-symbiosis-ihc-and-decibel-festival/ http://www.xlr8r.com/news/2015/09/weekly-selections-bacchanale-festival-symbiosis-ihc-and-decibel-festival/#comments Thu, 17 Sep 2015 19:00:37 +0000 http://www.xlr8r.com/?p=102316 The inaugural edition of Canada's Bacchanale Festival began on September 6 with Lil Louis and September 16 with Pearson Sound, while its main events take place this weekend at Montreal's Old Port featuring live sets by Octave OnePhuture and Vril, and dj sets by Omar S, Answer Code Request, and others.

Symbiosis Gathering celebrates its 10-year reunion today until Sunday at the Northern California Woodward Reservoir in Oakdale with over a hundred musical acts such as Nicolas Jaar, CocoRosie, and Four Tet, as well as workshops, an alchemy village, and live art component.

This Friday in XLR8R hq Los Angeles, the IHeartComix crew hosts S-Type's first LA show along with Brooklyn-based dance music producer Obey City (both on the Lucky Me label), with additional acts including Heathered Pearls and Neo Fresco.

Taking a sneak peak, Seattle's Decibel Festival kicks off next Wednesday with five days of musical performances including the experimental concert series Optical, boat parties and hosted showcases including the dB After-hours II: XLR8R event with Marcel Dettman, Function and Vril, and workshops and discussion panels as part of the dB ConferenceXLR8R will be on the grounds from day one sharing regular updates throughout the week.

Each Thursday we highlight a selection of events taking place in the U.S., Europe and beyond, and welcome our readers to submit events for consideration. To submit a new event or to search events in your city visit our events page.


hundred nico jaar

TheHundred Presents - Nicolas Jaar
Club Vinyl - Denver, CO, US
Symbiosis Gathering 10 Year Re:Union
Woodward Reservoir - Oakdale, CA, US
Hidden Roots Residency Night - A Night w/ Alex Loaiza & Mario Polanco
TBA Brooklyn - Brooklyn, NY, US
Cooly G (Hyperdub)
Fuse Art Space - Bradford, West Yorkshire, United Kingdom
HODGEPODGE - Live music / DJ night
Mama Shelter - Los Angeles, US
DJ Harvey (Open to Close) at Output
Smartbar - Chicago , IL, US
A Family Affair | The Saunderson Brothers + Huge Special Guests
Cielo - New York, NY, US
The Magic Number Presents Everything Soulful | Antonio Ocasio/ Jihad Muhammad in The Panther Room
Studio 80 - Amsterdam, Noord-Holland, Netherlands


Jan Blomqvist at flash

Jan Blomqvist LiVE with Vinyl Speed Adjust
Flash - Washington, DC, US
Esscala: Rabbit Hole Nights | Eco (Open To Close)
Cielo - New York, NY, US
Cloak & Dagger Music Festival (Dallas)
Gas Monkey Live! - Dallas, TX, US
Hazy Vision on The Roof | A.Arias/ Minutia/ Me&Gio/ Marco Petrazzi
Peters Birthday Tour At TBA
TBA Brooklyn - Brooklyn, NY, US
Need & Necessity
Bar Standard - Denver, CO, US
Public Works 5 Year Anniv. w/ Dusky, Pumpkin & Bwana
Public Works SF - San Francisco, CA, US
Club IHC with S-Type, Obey City, Neo Fresco, Heathered Pearls
Los Globos - Los Angeles, CA, US
JUST the TIP! wsg DJs Andy Toth, Eric Hinchman & Charles Pearson
Northern Lights Lounge - Detroit, MI, US
Bacchanale festival 2015 : ANCIENT FUTURE
Oktave 6 Year Anniversary With Drumcell, Project 313 and Jeff Derringer
Smartbar - Chicago , IL, US
Keinemusik Showcase | &ME/ Adam Port/ Justin Miller + Dave Turk/ Mike Terra/ Brian Best/ Zeni Karpuzi + Special Guest in The Panther Room
Output - Brooklyn, NY, US
Framework presents All Gone Pete Tong | Chris Malinchak
Sound Nightclub - Hollywood, CA, US
Proper Vibes DC Series ft. Dirty Chocolate
Zeba Bar - Washington, DC, US
FABRICLIVE 18.9 w/ Groove Armada, T.Williams, Jimmy Edgar & B.Traits
fabric - London, London, United Kingdom
Tender Hooks
Studio 80 - Amsterdam, Noord-Holland, Netherlands
RINSED: Disruptive Patterns
Location TBA - Brooklyn, NY, US
Electromotive Force
Berghain/Panorama Bar - Berlin, Germany


cloak and dagger

Cloak & Dagger Music Festival (Denver)
Sound Summit: A Benefit for the Mountain
Mountain Theater - Mill Valley, CA, US
Verboten StageONE presents Detroit ♥'s SUBVERSIONS: Carl Craig pres Modular Pursuits / Audion [live] / Magda / Gaiser [live] + More
Unnamed Venue - Brooklyn, NY, US
Max Graef (Tartelet Records) + Glenn Astro LA DEBUT (Tartelet Records) + CTEPEO 57' (Tartelet Records) + Cooper Saver (Far Away)
The Standard Downtown LA - Los Angeles, CA, US
Simon Scott / Steve Roden / Mark Van Hoen
Magazine A-168 - Vallejo , US
TBA Night w/ Local Talk (Mad Mats & Tooli), Brion Vytlacil & More
TBA Brooklyn - Brooklyn, NY, US
DJ Three, Lisa Frank, Navbox; #BODYFEEL
Flash - Washington, DC, US
The Pop Up Shakedown Returns!
South Bowl - Philadelphia, PA, US
goodie no.45 w Magda, Rob Paine, Francisco Collazo
The Dolphin - Philadelphia, PA, US
Recondite/ Ryan Elliott/ Eric Cloutier + Frank & Tony in The Panther Room
Output - Brooklyn, NY, US
Inception Presents Chus & Ceballos | Anthony Attalla | Adam Auburn | Steve Prior
Exchange LA - Los Angeles, CA, US
Forward Disco | Hector Romero, Sean Cormac, Chili Davis
Cielo - New York, NY, US
fabric 19.9 w/ Seth Troxler, Adam Shelton, Subb-An & Air London
fabric - London, London, United Kingdom
Studio 80 - Amsterdam, Noord-Holland, Netherlands
Berghain/Panorama Bar - Berlin, Germany


PE Barc

Piknic Électronik Bcn #13 (Showcase: Ellum) - Maceo Plex + Danny Daze + Odd Parents + Shall Ocin + Stephen Barnem
Jardins de Joan Brossa - Barcelona, Spain
Piknic Electronik
Parc Jean-Drapeau - Montreal, QC, Canada
Motek & 6AM presents Martin Roth (Anjunadeep) | Metrika (Crosstown Rebels)
Le Jardin - Los Angeles, CA, US
Sundays on The Roof | Vince Watson/ Nicolas Matar/ Nikola Baytala
Output - Brooklyn, NY, US
SUM Night | Dominguez, Simon Heyliger and Justin
Cielo - New York, NY, US


extra dark

Extra Dark with Darren Keen
Kung Fu Necktie - Philadelphia, US


db 2 wide

Decibel Festival 2015
Seattle - various - Seattle, WA, US
no name Presents Inhalants (Patricia + Jahilyyia Fields) (LIVE)/ Entro Senestre (LIVE)/ Alex from Queens/ L. Sangre/ Olive T. on The Roof
The dB2015 Optical Kick-Off Party
Re-Bar - Seattle, US
Nicolas Jaar Decibel Festival 2015
The Showbox - Seattle, WA, US
secondnature Decibel Festival 2015
The Crocodile - Seattle, WA, US
Soulection Decibel Festival 2015
Q Nightclub - Seattle, WA, US
Clinic with Miguel Puente (Akbal) & Guests
Couture - Hollywood, CA, US
Cazzette/ The Avener at Output
Output - Brooklyn, NY, US
Cazzette at Output
Output - Brooklyn, NY, US
Octopus Decibel Festival 2015
Re-Bar - Seattle, US
Studio 80 - Amsterdam, Noord-Holland, Netherlands



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Hear Exclusive New Track from Seth Troxler and Tom Trago http://www.xlr8r.com/news/2015/09/hear-exclusive-new-track-from-seth-troxler-and-tom-trago/ http://www.xlr8r.com/news/2015/09/hear-exclusive-new-track-from-seth-troxler-and-tom-trago/#comments Thu, 17 Sep 2015 18:47:49 +0000 http://www.xlr8r.com/?p=102421 Seth Troxler and Tom Trago have published "De Natte Cel", a new track inspired by and made after the closing of Trouw club in Amsterdam.

"De Natte Cel" is included on Troxler's DJ Kicks which is scheduled for October 16 release on !K7. 

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Premiere: Stream the Answer Code Request Remix of Blue Hour http://www.xlr8r.com/news/2015/09/premiere-stream-the-answer-code-request-remix-of-blue-hour/ http://www.xlr8r.com/news/2015/09/premiere-stream-the-answer-code-request-remix-of-blue-hour/#comments Thu, 17 Sep 2015 17:00:20 +0000 http://www.xlr8r.com/?p=102392 UK-born producer Luke Standing (a.k.a. "Blue Hour") has made a considerable impact since his emergence in 2013. A move from Bristol to Berlin precipitated a run of stellar self-released EPs that immediately won him an ardent following among techno's most revered DJs for a sound that offered a fresh takes on classic techno and electronica, while always maintaining a supreme dancefloor functionality. Among those fans was Function, who included an exclusive track from Standing in his Berghain 07 mix and part I of its accompanying 12-inches.

Now Standing's self-titled outlet launches a new remix series, calling on some of those aforementioned fans to offer their own takes on a trio of the standout tracks from his label's first five releases. Up first for are Blue Hour Remixed [01] are Answer Code Request, Steffi and Marcelus.

Ahead of the EP's October 5 release date, Answer Code Request's remix of "Axis Motive" can be exclusively streamed in full below.


A1  Axis Motive (Answer Code Request Remix)
A2  Reference 97 (Marcelus ‘Swirl’ Mix)
B1  Moments (Steffi Remix)

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Ø [Phase] Set to Release New Alone In Time? LP http://www.xlr8r.com/news/2015/09/o-phase-set-to-release-new-alone-in-time-lp/ http://www.xlr8r.com/news/2015/09/o-phase-set-to-release-new-alone-in-time-lp/#comments Thu, 17 Sep 2015 11:35:59 +0000 http://www.xlr8r.com/?p=102400 UK techno producer Ashley Burchett (a.k.a Ø [Phase]) is set to release a new album via Token records. This will be his second LP for the Belgian imprint, following the release of Frames Of Reference, dating back to 2013.

Token records was initially founded in 2007 by fellow techno DJ Kr!z and has since been the home of artists of the likes of Inigo Kennedy and Ctrls.

The release will be available digitally and as a triple-vinyl pack.

1. Spacialize
2. Orbitron
3. Increment
4. Blind Eye
5. Nep-tune
6. Alone In Time
7. The Maze
8. Remote
9. Mo_del
10. R-Mash
11. Astryx

Alone In Time? will land on Token records October 30, 2015.


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Tale of Us Announce France Tour; Win Guestlist Here http://www.xlr8r.com/news/2015/09/tale-of-us-announce-france-tour-win-guestlist-here/ http://www.xlr8r.com/news/2015/09/tale-of-us-announce-france-tour-win-guestlist-here/#comments Thu, 17 Sep 2015 10:50:25 +0000 http://www.xlr8r.com/?p=102402 Carmine Conte and Matteo Milleri, the Italian DJ-Producer duo better known as Tale of Us, have announced the "Tour De France" with six new dates across France throughout September and October.

XLR8R has a pair of guestlist spots for any date available to give away. To be in with a chance of winning a pair of guestlist tickets, follow us on instagram and enter your email below. Terms and Conditions apply.


September 20 - Electro Alternativ, Toulouse

September 24 - Elektricity, Reims

September 25 - Marsatac, Marseille

September 26 - Ososphère, Strasbourg

September 27 - Rex Club, Paris

October 02 - N.A.M.E Festival, Lille

Instagram  Instagram Click on our badge to follow XLR8R_Official on Instagram.

Terms and Conditions:
  1. The promoter is Tale Of Us and agent, XLR8R.com whose registered office is at 837 Traction Ave #304, Los Angeles, CA 90013, USA.2. Employees of Tale Of US / XLR8R.com or their family members or anyone 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 Saturday September 19, 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 21 years of age or older to enter
    • Prize is for 2 guestlist spots at any event taking place on Tale Of Us France tour.
  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 1 day of the closing date. If the winner cannot be contacted or do not claim the prize within 1 day 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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ADE Festival Completes 2015 Program http://www.xlr8r.com/news/2015/09/ade-festival-completes-2015-program/ http://www.xlr8r.com/news/2015/09/ade-festival-completes-2015-program/#comments Thu, 17 Sep 2015 02:06:54 +0000 http://www.xlr8r.com/?p=102346 The nighttime program of the Amsterdam Dance Event (ADE) is now finalised. Between October 14-18, more than 2,000 artists will be appearing at over 340 events across the 100 clubs and spaces that are participating with ADE.

During the upcoming anniversary year, Amsterdam will be in the international spotlight with over 400 visiting journalists and media, more than 5,000 professionals and an expected 365,000 festival-goers who flock to the city from around the world.

The 2,000 artists visiting Amsterdam to participate in the ADE Festival include:

Adam Beyer (SE), Agoria (FR), Âme (DE), Andrew Weatherall (GB), Andy C (GB), Apollonia (FR), Armin van Buuren (NL), Axwell Λ Ingrosso (SE), Ben Klock (DE), Ben UFO (GB), Bicep (GB), Bingo Players (NL), Black Coffee (ZA), Bondax (GB), Boris Brejcha (DE), Boys Noize (DE), Carl Cox (GB), Chris Liebing (DE), Dâm-FunK (US), Dannic (NL), Dave Clarke (GB), David Guetta (FR), De Sluwe Vos (NL), Derrick May (US), Detroit Swindle (NL), Dixon (DE), DJ Snake (FR), DJ Tennis (IT), Dubfire (US), Dyro (NL), Eats Everything (GB), Fedde Le Grand (NL), Felix Da Housecat (US), Floorplan (US), Four Tet (GB), GANZ (NL), George FitzGerald (GB), Gerd Janson (DE), Goldfish (ZA), Green Velvet (US), Gui Boratto (BR), Guti (AR), Hardwell (NL), Headhunterz (NL), Heidi (DE), Henrik Schwarz (DE), Hernan Cattaneo (AR), Howling (DE), I-F (NL), Ida Engberg (SE), Interstellar Funk (NL), James Zabiela (GB), Jamie Jones (GB), Jeff Mills (US), Jennifer Car-dini (FR), Job Jobse (NL), John Digweed (GB), John Talabot (ES), Joris Voorn (NL), Joseph Capriati (IT), Josh Wink (US), Joy Orbison (GB), Juan Atkins (US), Karenn (GB), Kerri Chandler (US), KiNK (BG), Knife Party (GB), Kölsch (DK), Kraak & Smaak (NL), Laidback Luke (NL), Levon Vincent (US), Loco Dice (DE), Ma-ceo Plex (US), Machinedrum (US), Magda (Poland), Mano Le Tough (IE), Marcel Dettmann (DE), Mark Knight (GB), Martin Garrix (NL), Max Cooper (GB), Maya Jane Coles (GB), Miss Nine (DE), Monika Kruse (DE), Moodymann (US), Motor City Drum Ensemble (DE), Mount Kimbie (GB), Move D (DE), Nervo (Australia), Nicky Romero (NL), Nicole Moudaber (GB), Nina Kraviz (RU), Noisia (NL), Oliver Heldens (NL), Paco Osuna (ES), Palms Trax (DE), Paul Oakenfold (GB), Ricardo Villalobos (CL), Richie Hawtin (CA), ROD (NL), Roger Sanchez (US), Romare (GB), Rødhåd (DE), Sandrien (NL), Secret Cinema (NL), Seth Troxler (US), Showtek (NL), Sjamsoedin (NL), Solomun (DE), Soul Clap (US), Squarepusher (GB), Stimming (DE), Sunnery James & Ryan Marciano (NL), Surgeon (GB), The Black Madonna (US), The Gaslamp Killer (US), The Martinez Broth-ers (US), Todd Terry (US), Tom Trago (NL), Torus (NL), Weval (NL), Yellow Claw (NL)

For the full program and to purchase tickets, click here.

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MIRA 2015 Launches "He", the Second Teaser of their Image http://www.xlr8r.com/news/2015/09/mira-2015-launches-he-the-second-teaser-of-their-image/ http://www.xlr8r.com/news/2015/09/mira-2015-launches-he-the-second-teaser-of-their-image/#comments Thu, 17 Sep 2015 01:56:55 +0000 http://www.xlr8r.com/?p=102340 This year MIRA Live Visual Arts Festival aims to personify the festival into an humanoid form. "Characters with face and eyes addressed to the public through sensuality," in the words of Barcelona’s design studio Device, responsible of MIRA’s graphic campaign for the third consecutive year.

In July, the festival published "She", the birth of an artificial being who appeared from the seabed and proclaimed, "I've been waiting for you. Are you ready?" Today the festival publishes the second teaser image, entitled "He", another mysterious being born from a monolith.

"He" can be streamed in full below, while more information on this year's event, including ticket availability and an exhaustive list of the visual artists who will perform, can be found here. 


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Premiere: Stream EVM128's Debut Album, Nova, in Full http://www.xlr8r.com/news/2015/09/premiere-stream-evm128s-debut-album-nova-in-full/ http://www.xlr8r.com/news/2015/09/premiere-stream-evm128s-debut-album-nova-in-full/#comments Thu, 17 Sep 2015 00:40:32 +0000 http://www.xlr8r.com/?p=102315 Rising UK producer Luke Meads (a.k.a. EVM128) will drop his brilliant debut album, Nova, on Studio Rockers on September 18.

Spread across 12 tracks, Nova—which is named after Meads' daughter—is gorgeous and engrossing amalgamation of jazz, broken beat, funk, soul, and UK garage, with the now London-based producer's Bristol heritage ever present across the bass-heavy LP. The refined and varied sound across the album is a storied outline of Mead's musical journey so far, featuring collaborators he's met along the way, including Evermean, Olmo Cassiba, Daiva, Shyone, and UK legend Omar. It's a first-class, head-nodding debut that will leave you excited, and impatient, for more from the ascendant producer.

Ahead of its release on September 18, you can stream Nova in full via the player below.

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Mule Musiq Will Release Petre Inspirescu's Third LP http://www.xlr8r.com/news/2015/09/mule-musiq-will-release-petre-inspirescus-third-lp/ http://www.xlr8r.com/news/2015/09/mule-musiq-will-release-petre-inspirescus-third-lp/#comments Wed, 16 Sep 2015 21:23:14 +0000 http://www.xlr8r.com/?p=102312 Following two critically acclaimed studio albums on the [a:rpia:r] label—which he runs with Rhadoo and Raresh—Petre Inspirescu will drop his third LP, Vin Ploile, on Tokyo label Mule Musiq.

Inspirescu debuted on the label last year with Talking Waters, a rolling, groove-based 12", and now returns with an album comprised of mostly live instrumentation, a step away from his usual dancefloor-focused sound. The album explores dub and latin influences, with the Romanian artist "using only piano, string & wind instrument elements and analogue electronics to craft a deep and hypnotic arrangement of tones and rhythms."

Vin Ploile will arrive on December 4, with the full tracklisting below.

01 Delir 1
02 Delir 2
03 Delir 3
04 Delir 4
05 Delir 5
06 Delir 6
07 Delir 7
08 Lumiere
09 Pan'la Glezne

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Watch the New Video for 'Full Circle' (ft. Boxed In) by George FitzGerald http://www.xlr8r.com/news/2015/09/watch-the-new-video-for-full-circle-ft-boxed-in-by-george-fitzgerald/ http://www.xlr8r.com/news/2015/09/watch-the-new-video-for-full-circle-ft-boxed-in-by-george-fitzgerald/#comments Wed, 16 Sep 2015 16:32:57 +0000 http://www.xlr8r.com/?p=102283 This morning, George FitzGerald shared a video for "Full Circle." The lush song, featuring Boxed In's Oli Bayston on vocals, was the first single to be released from his debut album Fading Love, released earlier this year on Double Six/Domino. The album documents the disintegration of a romantic relationship, as well as FitzGerald's dwindling enthusiasm for the one-dimensional dance records that ignore the more complicated realities of his own life.

Regarding the video, director Alan Masferrer says:

“Conceptually, the video is an abstract and personal approach to the stages of life: conception, pregnancy, birth, childhood, youth, adultness, oldness and death. This is for me the full circle. Coincidentally the actress, Anna Hierro, one of the most talented contemporary dancers from Spain, was four months pregnant when we asked her to appear in the video. Definitely that fortunate coincidence gave an additional dimension to the essence of the project.”

You can find out more about George FitzGerald by clicking here, and you can catch him on tour at any of the numerous dates listed below.

Sept 16 || Ibiza || Paradise @ DC-10 ||
Sept 19 || Wetherby Racecourse, UK || Mint Festival ||
Sept 26 || Melbourne, AUS || Listen Out Festival ||
Sept 27 || Perth, AUS || Listen Out Festival ||
Oct 3 || Sydney, AUS || Listen Out Festival ||
Oct 4 || Brisbane, AUS || Listen Out Festival ||
Oct 9 || Bristol, UK || Motion ||
Oct 10 || London, UK || The Hydra: Bugged Out XXI Birthday at Studio Spaces ||
Oct 15 || Amsterdam, Netherlands || Melkweg (ADE) ||
Oct 16 || Manchester, UK || The Warehouse Project ||
Oct 29 || San Francisco, CA || Popscene @ Rickshaw Stop ||
Oct 30 || Denver, CO || Bar Standard ||
Oct 31 || Los Angeles, CA || HARD Day Of The Dead ||
Nov 6 || New York, NY ||
Nov 7 || Philadelphia, PA || The Dolphin ||
Nov 12 || Washington, DC || Flash ||
Nov 13 || Chicago, IL || warehouse TBA
Nov 14 || Miami, FL || Story ||
Nov 20 || Medellin, Colombia || Salon Amador ||
Nov 21 || Bogota, Colombia || SOMA Festival ||
Nov 22 || Mexico City, Mexico || Corona Capital Festival ||

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Werdna Namde "Selles" http://www.xlr8r.com/mp3/2015/09/werdna-namde-selles/ http://www.xlr8r.com/mp3/2015/09/werdna-namde-selles/#comments Wed, 16 Sep 2015 16:00:26 +0000 http://www.xlr8r.com/?p=102337 After saving a young woman's life at a concert in 2012, Werdna Namde (a.k.a. SNKNGL) became deeply affected by the incident, and immediately began seeking out different ways that he could process this experience into something he could use to positively impact the people around him. Werdna creates tracks that directly express his attitude towards the human condition, and his desire to enjoy every bit of his new found passion for life. With an ever changing arsenal of mysterious aliases under his belt, Namde now offers up a download of his new track "Selles." Futuristic and raw in sound, the arrangement chugs towards a slow burn that is reminiscent of a pitched down Chicago house record, inside of ambulance on its way to extinguish a five-alarm warehouse fire. The track also includes original cover artwork by Nicholas Treadway.



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Dark Entries Teases Severed Heads Reissues http://www.xlr8r.com/news/2015/09/dark-entries-teases-severed-heads-reissues/ http://www.xlr8r.com/news/2015/09/dark-entries-teases-severed-heads-reissues/#comments Wed, 16 Sep 2015 15:24:55 +0000 http://www.xlr8r.com/?p=102277 Dark Entries, the West Coast label largely dedicated to obscure and industrial synth-pop, has detailed a run of forthcoming reissues from Australian post-punk pioneers Severed Heads. Clifford Darling, Please Don’t Live in the Past was originally released in 1985 via Ink and combines “live recordings, raw demos, unreleased studio recordings, and solo pieces” from the band’s first five years together. Arriving at the same time—on October 8—is the Petrol EP, which offers multiple versions of the '86 single.

Severed Heads kick off a tour in San Francisco on September 18. To revisit XLR8R’s 2014 profile of Dark Entries, head here, and stream clips of both forthcoming records below.

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Premiere: Stream the Landside Part II EP in Full http://www.xlr8r.com/news/2015/09/premiere-stream-the-landside-part-ii-ep-in-full/ http://www.xlr8r.com/news/2015/09/premiere-stream-the-landside-part-ii-ep-in-full/#comments Wed, 16 Sep 2015 13:36:35 +0000 http://www.xlr8r.com/?p=102042 Following the release of the beautiful Part 1 EP, Landside, the electronic music project consisting of Italian producers Hunter/Game and the Icelandic band Kúra, is set to release the Part II EP this week.

In advance it's release via Hunter/Game's Just This imprint on September 18, the Part II EP can be exclusively streamed in full below.


A1 - Wasteland
A2 - Lost Soul
B1 - Wasteland (Extrawelt Remix)
B2 - Lost Soul (Avatism Remix)

Digital Bonustrack:
Wasteland (Extrawelt Fidgety River Remix)

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Exclusive Q&A: Infrastructure New York Set to Re-release Legendary Trackman Double-EP from 1995 http://www.xlr8r.com/news/2015/09/exclusive-qa-infrastructure-new-york-set-to-re-release-trackman-double-ep-from-1995/ http://www.xlr8r.com/news/2015/09/exclusive-qa-infrastructure-new-york-set-to-re-release-trackman-double-ep-from-1995/#comments Wed, 16 Sep 2015 10:43:33 +0000 http://www.xlr8r.com/?p=102259
Function's Infrastructure New York imprint is set to release a reissue of Mark Archer's first release as Trackman.

The first Trackman EP went out on Ideal Trax in 1995, a six-track, two-vinyl EP spanning trippy, classic acid cuts, Detroit and Chicago influences, Sheffield Bleep and Manchester Hacienda rave era overtones—many of which still get played out regularly by top-tier selectors today.

The EP has now been lovingly remastered and re-issued on Function's Infrastructure label, with a bonus track Paradise included, which featured later on the 1996 "Don’t Stop" EP—also a classic in it’s own right.

Ahead of the EP's September 18 release, XLR8R spoke exclusively with Mark Archer and Function to learn more about the release, with snippets available to stream below.



Back in 1995 when these tracks were originally released, what was the energy? What was your inspiration for these tracks?

Mark Archer:

In 1995 I'd kind of lost touch with the techno scene having gone headlong into the whole UK hardcore thing with Altern 8 and then had been working more of a US house sound with the Slo Moshun project and Dansa records alongside Danny Taurus—so when Neil Macey asked me to record some tracks for the first release on the label I wasn't totally sure what he wanted. I asked for a description of the style that he wanted rather than hearing anything and being influenced that way—he said it was sort of techno with housey drums and jacking acid house so that's just what I did.


How do you think the significance of these tracks, and their impact is able to adapt to techno in 2015?

Mark Archer:

Techno has and always will (hopefully) be timeless—a music of the future. A lot of it doesn't date unless it's made for the now. On the odd occasion I've been to techno events I've always heard old tracks dropped in the middle of sets to great effect and hopefully the reissue of the Trackman double-pack will be received in the same way by people who know it and possibly seen as something new by people who have never heard it before.

I was actually recently asked if I was an up and coming breaks/fidget DJ after playing a set of old hardcore classics by someone who was too young to have been born when the tracks were made.

Trackman aka Mark Archer Press Pic


What sparked your decision to re-release Trackman's double-EP from 1995? What significance does this record have to you and your musical career?


I met Mark for the first time at a gig in Edinburgh in 2011 and we quickly connected. We were at the hotel before the show talking about his early days as Nexus 21 and Altern 8 with Chris Peat and his later solo work as Trackman.

IMG_6279Nexus 21 tracks like Self-Hypnosis and Real Love; and Altern 8 tracks like Move My Body, Frequency, Armageddon and Infiltrate 202 had a huge impact on me growing up, circa '90-'92. They were a real sign of the times. Then a few years later Surgeon turned me on to the Trackman double pack—both on Ideal Trax—and said it was one of the guys from Altern 8. I was totally blown away by the record because it was more straight, acid-house, techno and bass and bleep oriented, which I think has helped the record remain timeless. But you can still hear Nexus 21 and Altern 8 in there.

Anyway, as we got into talking, I asked about the Trackman double-pack, he mentioned that he still had all of the original tapes and got the rights back. I asked if he would be up for reissuing it and said he was up for it. It took a while to get it out but we're finally here and think it's the perfect time. The record sounds as fresh as ever and I love how we've added Paradise to the release. More than anything though, Mark's such a lovely guy and I'm such a huge fan—we're honored to be giving the record a second release.

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Fold Preps EP for AUS Music http://www.xlr8r.com/news/2015/09/fold-preps-ep-for-aus-music/ http://www.xlr8r.com/news/2015/09/fold-preps-ep-for-aus-music/#comments Wed, 16 Sep 2015 10:06:10 +0000 http://www.xlr8r.com/?p=102248 Following on from Timothy Blake's The Stormy Search EP, AUS Music will release Fold's Netflix & Chill EP on October 16.

Joining recent new signees such as Timothy Blake, Geeman and Escape, Fold follows releases on Man Make Music and Electric Minds with his debut on Will Saul's revered label. Spread across three hip-hop influenced tracks, and a remix by shadowy Workshop mainstay Kassem Mosse, Netflix & Chill is a gritty and refreshing take on house. As usual, Mosse applies his foggy magic to the aptly title "Dreamscape," rounding out another brilliant notch in the AUS Music belt.


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Q&A: Mr. G http://www.xlr8r.com/features/2015/09/qa-mr-g/ http://www.xlr8r.com/features/2015/09/qa-mr-g/#comments Wed, 16 Sep 2015 09:00:46 +0000 http://www.xlr8r.com/?p=102183 mr g a night on the townLongevity, consistency, and quality don't always go hand-in-hand—but for the U.K.'s Colin McBean, that seemingly comes effortlessly. His career dates back to the early '90s; among other claims to fame, he was the partner of Cisco Ferreira in the British techno outfit the Advent. Working solo for the past decade and a half, mostly under the Mr. G moniker, his signature style—cultivated over 60 releases—has generally been categorized as tech-house. But his new album, Night on the Town? (just released on his own Phoenix G label, also available on DVD with an accompanying video), has a much deeper, left-of center sound. His extensive knowledge of American, British, and Jamaican music is combined with a quick-talking and tangential personality, one that's wholly apparent on his new record.

The city of London is one of the central themes on the album. Can you talk about your relationship to the city?
The album the sound of my perfect night out, that grainy mechanicalness of London. Some of the tracks are hypnotic, some passive, some active, some deep and twisted. It’s all those things happen in nightclubs in and around London. And it’s also an amalgamation of all my influences, whether it’s house, or soul, or techno, or whatever I’m listening to. It’s that musical backbone combined with my love of the city.

Growing up as a small-town Derby boy, I could come down to London for the art, the clothes, sneakers, records…you name it. I’ve seen it all. I walk the same route as I did when I was a kid, I look at the same things. I see buildings and popular art places come and go, new art and new photography spring up. By now I know most of the people in Soho in someway or another, and I love all that. But as I was getting older, I wanted some calm. The madness of the ambulance going by at three in the morning—I don’t want that anymore. I don’t want to hear people coming in from the pub making noise. And that’s a choice a choice you have to make, and I think that’s a choice you make when you get older. I love music, I love sound, I love people, but I also love quiet. Hence my decision to move to the country.

But I still have the ability to get on the train, get off and switch into London mode, running around, talking. And then you get back on your train, and you get your quiet.

mr g 3Can you talk about Derby, the town where you grew up? What were your musical influences in those early years?
I grew up in a really old-fashioned Midlands town, but it had a strong cultural background—a really robust Jamaican community. So you had parties in church halls, or you'd have the local DJ playing in the community center, so there were always great DJs long before me. We had knowledge of the music, because we were given that knowledge as kids from the elders. So what we used to do is save our money for a month, get on the train and head to London to buy records.

But then you come back to Derby, and you’re DJing in the clubs, and at some point you’re like, this isn’t enough for me. Because you can’t play your amazing rare disco gem to your local people. They’re not ready for that. So when you come through, or chose to come through, you’ve got all the knowledge you’ve been given—but then you realize, oh shit, I’m in Derby. How am I gonna get access to the great music, the great second-hand shops and great charity shops that have all these rare records waiting for me? So eventually I decided to leave, got a job in London, and I spent my days scouring every second-hand record shop.

Can you talk about that Jamaican cultural influence you got from Derby?
My mom and dad are from Jamaica, and I speak patois. I’ve been going to the island since I was about eight. When I go to where my parents are from, every Thursday, Friday, Saturday, Sunday there’s a sound system. So it’s a trip filled with sound. The cars have sound systems, and you can hear them coming from seven of eight miles away. And you can hear that bass rolling, and then rattling the house. So that’s me stocking up on basslines and juice and energy for my next music.

"What I’ve come out of is that U.K. reggae bass that’s always been distinct to the U.K. That bad-boy bassline, I’m in all day."

Whether it’s Burning Spear, Bob Marley, Studio One, or King Tubby, that bass and analog is in our heritage, and that’s what Jamaica is so important for. What I’ve come out of is that U.K. reggae base that’s always been distinct to the U.K. That bad-boy bassline, I’m in all day. Whether it’s drum & bass, dubstep, garage, that dub is a part of our heritage. And Americans can’t do that bass the way we can. It’s not a part of their heritage. And in the same way, we in the U.K. and Europe don’t have the ability to have that level of emotion—that deep, black emotion that is special to America. Guys like Fred P, Theo Parrish, Moodymann, Masters at Work, Frankie Feliciano, Lil Louis, Joey Anderson…we can’t get that level of emotion on our side. Because our forefathers and backgrounds are different.

So there’s always something to be gleamed in Jamaica, whether you find a new album, a rare record you never heard, or you hear something on the TV, or a car goes passing with the radio. But it really is a tough trip—it’s not a trip for the faint of heart. Jamaica is a tough tonic. So as much as I love going, I’m always slightly nervous. You have to respect what you are, and who you are.

Those Americans that you mentioned, their styles were influenced in some degree by new wave, which was emerging around Derby and the Midlands when you were growing up there. What was your encounterwith those sounds like?
To be fair, I only picked up on that later on in life. Because at the time that all came out, I was a box boy for a sound system, so my life became speaker boxes and late night parties, packing it away and hopefully getting some rum and hearing some great music. There are parts of life that I completely missed because I was wrapped up in the world I was in. But I do remember a club in Derby we used to play called the Blue Note, and we had all of those weird and wonderful groups on Tuesday or Wednesday nights playing, and I would hear them. There are lots of crazy names I remember, but I never thought of it as a specific movement, because the clubs I DJed at played really eclectic mixes of music. That went from left to right without stopping in the middle. So when you talk about new wave, or you talk about punk, or you talk about indie…for me it was also a part of where I was working, where I was DJing, the clubs I played at. Certainly the Blue Note was one of the landmarks in the Midlands for bringing out the unknown left-of-center talent. But it was never about a certain style. It never has been.


Over the course of your career, you’ve released over 60 EPs and singles, but not too many full length LPs. Can you talk about that consistent output, and why you decided this should be a full length album?
I’m a '70s child all day long. When you do an album project, it should be something that you made pretty much around the same time; you only work on that project for a long time. So normally the 12s and the EPs are tracks that might be from last year, the year before, this year, yesterday. But when something is done over a limited period of time, I think, well that’s an album—because that’s a picture, a snapshot of where you were just then.
Some kids are like, man, how do you put out so many records? I don’t see it like that. I say, I’m a music guy, I live to make music, and hear music. If I make it in five hours or I make it in five weeks, I just keep making music. I might write ten or so tracks over a period of time, but then I have to sit down, and sit with my system and listen back to them and pick out which ones I like. So you end up with this bank of music, and you think, well, it’s no good sitting around waiting. Someone might like that, someone might not like that, so just put it out. What sticks, sticks.

So if you’re an artist, and it’s in you, you don’t just release one here, and release one there. You don’t go like that. I might not have anything to say next year. So I get them out. Let people hear where you’re at. If people like it, if they dislike it—get it out there. I’m a firm believer in that. it’s not a competition thing—it’s just, for me, a way of life.

There’s an introspective quality to the new record. Is that something you intended, or is it something that comes with getting older?
I think that’s the environment. Living out in the country, near water, in a quieter old house. Your vibe becomes introspective. I’ll think about the room where I have my studio, and wonder what happened in that room as years went by. You wonder what goes on. All those thoughts, the greenery around you, walking the dog every day…I didn’t have that in London. It feels slightly freer, you just have the room to stop, go outside, get some fresh air, walk the dog, get some nature, talk to someone, say good morning, good afternoon, good-day. It brings out something different in you.

Your last full-length album came as a result of your father passing. Was there a similar catalyst or this record?
With my father’s album, Personal Momentz, I didn’t know what was in me. And then to hear what comes out, and the message you’ve got inside you, is sometimes surprising. All the experience, all the pain, all the newness went into that album. It felt fitting that the experiences of death, and all the pain, and moving outside of London for a change, culminated in something so positive. It means you’ve made the right choice.

And it’s the same thing with the new one—it’s like wow, that’s what’s in there? Shit. This record is a very different side of me, and I’m quite shocked to see that myself. Obviously you know your work, you do what you do, you know your trademarks, and you know the sound of yourself. Sometimes you have to surprise.

"All those years of working for labels and doing remixes for people you didn’t want to do, or maybe shouldn’t have done—all that makes you very clear at one point when you get older. You’re like, right—this is who I am. This is what I want to be. This is how I want to do it"

Was it therapeutic to come out with a record that didn’t have that weight to it?
Yeah, of course—it was therapeutic, because it’s the knowledge that you’re free. This album was just me trying to do something different. And that’s always been my ethos: I’ve tried to do the best I can with the palette that I’ve got. But there’s a massive freedom, because I feel relaxed and I feel confident about what I’ve done—learning more about my art, I understand now there’s something different going on. And this album…I showed it to a few nearest and dearest, and they were like, “Damn, this is left-of-center, Colin, but I loved it. I could hear you in there, but it’s a different you.” So that makes me feel great. It’s all those years of working for labels and doing remixes for people you didn’t want to do, or maybe shouldn’t have done—all that makes you very clear at one point when you get older. You’re like, right—this is who I am. This is what I want to be. This is how I want to do it.” And also, once you see the video aspect, you’ll understand the extra dimension to it.

Can you talk about the video aspect to it?
There was a real visual component to all the tracks, and so it felt fitting to do some sort of visual accompaniment. I started reaching out to friends, and found out that one of my friends has a sister who is a filmmaker. And we went back and forth on it and I sweet-talked her into it, but it turned out fantastic.

For me to do the video aspect, it’s a massive step. I like to be the guy who goes to the club and does what he does. I want to be there listening to a DJ, or be at home making music. That’s it. I don’t really do the interactive side. It’s stressful for me because it’s not music—it’s not what I’ve been doing all this time. If it were about me performing or me DJing, I’d be like yeah, whatever, I’m good with that. With this whole visual thing, it’s out of my control. So it’ll be fascinating for me to release it, let people see it, and find out what others think. It takes it to a level I’ve never been to before, and that means I’m moving forward. It means I am building, I am trying. It’s so easy in this world to say, “Yeah, I’m doing okay” and be fine with where you’ve been. It’s not about that. For me, it’s about always trying to be a leader, rather than a follower. Give the kids something to look to.

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Cherushii "Everything Is In Color" http://www.xlr8r.com/mp3/2015/09/cherushii-everything-is-in-color/ http://www.xlr8r.com/mp3/2015/09/cherushii-everything-is-in-color/#comments Wed, 16 Sep 2015 02:29:01 +0000 http://www.xlr8r.com/?p=102249 Cherushii (a.k.a. Chelsea Faith) is an musician, producer, and live performer based out of San Francisco. Cherushii has been working as a live PA and producer for 10 years, using her gear savvy and innate musicianship to create lush, retro-futurist productions. Her passion for music is evident in her music, which take cues from Detroit techno, Chicago house, and classic rave sounds. Just this past August, Cherushii released her album Memory Of Water on Los Angeles label, 100% Silk. The album was originally released on cassette format, and limited to only 100 physical copies that didn't last very long. The album is now available digitally, and Cherushii has offered up a download of the ambient house track, "Everything Is In Color." The arrangement begins with quick-moving chords that are splattered upon a milky-way foundation. The rhythm keeps you hypnotized for almost two and a half minutes before the deep tempo of the bassline rides a space comet into a muffled snare, before completing its transformation into a deep house chugger that feels complete and satisfying on the dancefloor, as well as the headphones.

Everything Is In Color

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Ticket Giveaway: Win a Full Event Pass to Decibel 2015 http://www.xlr8r.com/news/2015/09/ticket-giveaway-win-a-full-event-pass-to-decibel-2015/ http://www.xlr8r.com/news/2015/09/ticket-giveaway-win-a-full-event-pass-to-decibel-2015/#comments Wed, 16 Sep 2015 00:39:35 +0000 http://www.xlr8r.com/?p=102208 For over a decade now, Decibel Festival has turned Seattle into an electronic music hotspot for one-week out of the year, showcasing some of the most reputable names in the scene at various locations around the city. Acts being featured this year include Marcel Dettmann, Bonobo, Daniel Avery, Dauwd, Nicolas Jaar, John Tejada, DJ Tennis, Lusine, and The Black Madonna, just to name a few. 

Decibel is also known for its meticulously curated showcases, with this year's showcases including Nicolas Jaar, Stimmhalt, IG 88 at Showbox, Studio 4/4: Decibel Edition: Julio Bashmore, andhim, Masha at Q Nightclub, and a Kompakt showcase featuring Agoria, John Tejada, and Dauwd at Neumos.

This year XLR8R will host a panel on Friday, September 25 at 5:30pm in association with dB Conference and CreativeLive, with a secret performance by a Decibel 2015 artist directly afterwards. XLR8R will also be hosting an Official dB after-hours party in association with Decibel Festival at Q Nightclub, featuring performances by Marcel Dettmann, Function (live), and VRIL (live). To celebrate this fact, we are giving away two full event passes to this years Decibel Festival! For your chance to win one full event pass, give us a follow on Instagram and then enter your email below. XLR8R will choose two winners that will be contacted this weekend via the email provided. Terms and Conditions apply.

The festival takes place in Seattle between September 23 - 27, with pre-sale tickets and more information available here.

Instagram      Click on our badge to follow XLR8R_Official on Instagram.

Terms and Conditions:
  1. The promoter is, Decibel and agent, XLR8R.com whose registered office is at 837 Traction Ave #304, Los Angeles, CA 90013, USA.2. Employees of Decibel / XLR8R.com or their family members or anyone 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 Sunday September 20, 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 21 years of age or older to enter
    • Prize is for 1 wristband to Decibel 2015 event taking place in Seattle, WA.
  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 1 day of the closing date. If the winner cannot be contacted or do not claim the prize within 1 day 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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Trevor Jackson Reveals Audio/Visual Mix ‘Science Fiction Dancehall Classics’ http://www.xlr8r.com/news/2015/09/trevor-jackson-reveals-audiovisual-mix-science-fiction-dancehall-classics/ http://www.xlr8r.com/news/2015/09/trevor-jackson-reveals-audiovisual-mix-science-fiction-dancehall-classics/#comments Tue, 15 Sep 2015 22:31:04 +0000 http://www.xlr8r.com/?p=102209 With over twenty years of experience under his belt, Trevor Jackson is revered as one of electronic music’s most accomplished and well rounded audio/visuals artists. Some of these accomplishments include the forming of Output Recordings in 1996—which released music from the likes of Four Tet and LCD Soundsystem—as well as receiving numerous awards for his visual campaigns and having his work premiered in museums such as the Guggenheim and the ICA.

Teaming up with Adrian Sheerwood’s label On-U Sound, Trevor Jackson is now set to release the compilation album Science Fiction Dancehall Classics, a 3 x vinyl and 2 x CD release that charts an “alternate history of the label." The mix features a plethora of B-sides and unreleased tracks, with a heavy post-punk, reggae and dub influences. This bizarre and alluring mix is further complimented by the visual aesthetic that accompanies it. The 14-minute black-and-white video mix, produced by Trevor Jackson, uses found footage that has been animated and warped to fit the rare and extraordinary sound of the compilation.

Be sure to check out the video mix of Science Fiction Dancehall Classics below and order your copy of the compilation by going here.

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