XLR8R http://www.xlr8r.com Accelerating music & culture Tue, 07 Apr 2015 12:45:40 +0000 en-US hourly 1 http://wordpress.org/?v=4.0 Podcast 381: Dauwd http://www.xlr8r.com/podcasts/2015/04/podcast-381-dauwd/ http://www.xlr8r.com/podcasts/2015/04/podcast-381-dauwd/#comments Tue, 07 Apr 2015 12:45:40 +0000 http://www.xlr8r.com/?p=89366 It might be a bit of an exaggeration to term Dauwd’s career arc as meteoric—his output rate hasn't exactly been shooting-star fast—but it’s certainly fair to say that the U.S.–born, Wales-raised, London-dwelling artist's rise has been impressive. It was only two years ago that XLR8R featured Dauwd as one of our Bubblin’ Up artists to watch; up till then, he had put out all of two twelves. But both of those records, the What’s Up EP (featuring “Ikopol,” previously released on Adult Swim’s Unclassified compilation) and the “Could It Be”/“Shimmer” single, were stunners—gentle, sensual, garage-tinged tunes lifted from a beautiful daydream.

That’s certainly not a bad way to kick things off, but Dauwd was just getting started. Since then, he’s been busy creating music that the sees him retaining his propensity for tunes that swoon and glide, while toughening up his sound just enough—a bit less shuffle, a bit more pump—for the clubs. Since coming out with Heat Division in 2013, released jointly by Pictures Music and Ghostly International, he’s become a core member of the mighty Kompakt—and the beloved German label has just released what might be his best record yet, the utterly groovy Jupiter George three-tracker. Add to that an emotive, slow-burn remix of the duo’s “Held,” about to drop on Erased Tapes, and you get the feeling that 2015 is going to be Dauwd’s year. And to underscore that point, here’s a superb mix of four-to-the-floor rhythms from the man himself, featuring music ranging from the classic house of "Tonight I'm Gonna Love You" from Pal Joey (in his House Conductor guise) to hot-off-the-press chuggers like Voiski's "A Sad Party,"  culminating in the sinuous, haunting and utterly gorgeous Traumprinz version of Efdemin's "Parallaxis."

Video: Dauwd discusses his XLR8R podcast

01 Quintessence "Prisms" (Island)
02 King So So "Interlude in the Sky" (Hippie Dance)  1.20
03 Nicholas Desamory "Berlin Blues" (I'm So Blasé) 2.09
04 Kiasmos "Held" (Dauwd Rmx) (Erased Tapes)  4.46
05 House Conductor  "Tonight I'm Gonna Love You" (Love Mix) (Cabaret)   8.48
06 Scott Grooves "Expansions" (Ballistic Brothers Pyramid Bonus Beats) (Soma) 11.43
07 Rolando Simmons "Montignac" (030303) 14.11
08 Mr.G "Conscious Mindfood" (Phoenix G) 17.45
09 Dauwd "Ritter Sport" (Kompakt) 21.45
10 Sanasol - Flush (Connaisseur Recordings)  27.15
11 Kenny Larkin - Cirque de Soul (Original mix) (Planet E) 30.17
12 Self Oscillate "Tunneling" (Shima Records) 34.36
13 Orbe "Bromothymol Blue" (Orbe) 35.19
14 ? "Lenny" (BDOH) 40.00
15 Voiski "A Sad Party" (Sheik 'N' Beik) 44.41
16 Efdemin "Parallaxis" (Traumprinz’s Over 2 the End Version) (Dial) 49.06

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Pole, Hypnobeat, and Rashard Becker Will Inaugurate Intonal Festival http://www.xlr8r.com/news/2015/04/pole-hypnobeat-and-rashard-becker-will-inaugurate-intonal-festival/ http://www.xlr8r.com/news/2015/04/pole-hypnobeat-and-rashard-becker-will-inaugurate-intonal-festival/#comments Tue, 07 Apr 2015 10:00:13 +0000 http://www.xlr8r.com/?p=89408 During the last weekend of April, Malmö's Ikonst will bring CTM and Unsound, the experimental music and art giants, to the city for a prodigious celebration of sound, light, and art. Elektronmusikstudion, Sweden's center for electronic music and sound art, will also play a large role in the festival, which features a tantalising lineup from "abstract experiments in sound to new and inspiring dance music". Some of our picks from the world class list of artists include the audio and visual mastery from Pole & MF, the pioneering analog techno of Hypnobeat, and the premiere of the collaboration between left-field house and techno artists, Porn Sword Tobacco & SVN. The festival will also feature several artist talks within the concept of Gram[m]ofon, in which journalist Mats Almegård invites artists to bring along their favourite records to be listened to and discussed in front of a live audience. After hour sessions will also take place over the course of the weekend at Sorgenfri Kultur. More information on the festival, including ticket links and schedule, can be found here, with the full lineup posted below.

Lineup

Artists: Pole & MFO / Frank Bretschneider & Pierce Warnecke ”SINN + FORM” / Hypnobeat / Porn Sword Tobacco & SVN / The Durian Brothers / Vinyl Terror & Horror / Klara Lewis / Rashad Becker / We Will Fail / Zamilska / Lumisokea COH & Tina Frank / RSS B0ys / Marcus Schmickler / Mats Lindström / Frederikke Hoffmeier aka Puce Mary / BNNT KABLAM / Lotic / Daniel Araya / Fjäder / Daniel Skoglund / Acousmatic for the People

Other: Ephemera (installation) / Discussion panel with Mathias Holmberg / Gram[m]ofon (talk) / Finn of Tomland & Kliin (DJ) / Third (DJ) / Prins Emanuel (DJ)

 

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High Wolf Announces New LP, Shares Track http://www.xlr8r.com/news/2015/04/high-wolf-announces-new-lp-shares-track/ http://www.xlr8r.com/news/2015/04/high-wolf-announces-new-lp-shares-track/#comments Mon, 06 Apr 2015 18:36:47 +0000 http://www.xlr8r.com/?p=89368 French producer High Wolf has announced his psychedelic new album, Growing Wild, to be released via Matthewdavid's Leaving Records on June 8. High Wolf has created a truly immersive world in Growing Wild, pulling in influences from around the globe. The LP is inspired by the head spinning rhythms of Shangaan, the West African and Malian styles, and Tuareg guitar music, all held together by High Wolf's psychedelic glue. "The sounds are those of a celebration of life and fraternity, the colors are warm like an African dress, feelings are positive and strong, thoughts are accelerating and multiplying the same way the universe is expanding," says High Wolf.

Ahead of the June 8 release, High Wolf has shared LP cut "Wild At Heart," an eight and a half minute trip into the hallucinogenic, worldly sound of Growing Wild. The album can be pre-ordered here, with a full stream  of "Wild At Heart" below, along with the Adam Ferris directed video clip.


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Mike Bloom "Lush" http://www.xlr8r.com/mp3/2015/04/mike-bloom-lush/ http://www.xlr8r.com/mp3/2015/04/mike-bloom-lush/#comments Mon, 06 Apr 2015 15:00:04 +0000 http://www.xlr8r.com/?p=89345 Rising New York City producer and DJ, Mike Bloom has been on a steady ascent the last few years, appearing regularly and holding residencies at some of the city's best known institutions including Output, Le Bain, and Le Baron. 2015 looks to be his biggest year to date and will see him release on fellow New Yorker Curses' label, Safer At Night, as well as inaugurating his own imprint, Maddjazz Recordings, combining his love of Jazz and world music with his knowledge of dance floor ready sounds. This dance floor expertise is front and centre on "Lush," a track Bloom recently sent XLR8R's way, which opens with a thumping kick and sub bass groove; filled out with chopped and delayed vocals. Over it's nine minute run, "Lush" adeptly moves between various synth phrases and vocal mutations, building and releasing tension to great effect. Bloom will be playing B2B with Milo McBride this Saturday at Le Bain at The Standard, NYC and in the meantime you can grab "Lush" below for free.

Lush

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Listen to Two Previously Unheard Frankie Knuckles Mixes http://www.xlr8r.com/news/2015/04/listen-to-two-previously-unheard-frankie-knuckles-mixes/ http://www.xlr8r.com/news/2015/04/listen-to-two-previously-unheard-frankie-knuckles-mixes/#comments Mon, 06 Apr 2015 13:18:09 +0000 http://www.xlr8r.com/?p=89360 To mark the one-year anniversary of Frankie Knuckles' passing, BBC Radio 1's Essential Mix has aired a pair of previously unheard mixes from the so-called Godfather of House. The first mix was recorded live at an event in Shoreditch, London in 2011, and the second is a studio session from that same year. Both mixes—running two hours in total—can be streamed in full here, where a tracklist is also on view. (via FACT)

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Hunee Preps Debut Album, Hunch Music http://www.xlr8r.com/news/2015/04/hunee-preps-debut-album-hunch-music/ http://www.xlr8r.com/news/2015/04/hunee-preps-debut-album-hunch-music/#comments Mon, 06 Apr 2015 12:58:54 +0000 http://www.xlr8r.com/?p=89355 Selector-turned-producer Hunee (a.k.a. Hun Choi) will return to Amsterdam's Rush Hour label this spring with his debut long-player, Hunch Music. Choi, who is currently based in the Dutch capital after a decade in Berlin and brief stint in LA, is known as an avid vinyl collector—earlier this year, he curated a Rush Hour compilation highlighting Japanese house label Far East and the producer Soichi Terada. But he's stayed relatively quiet on the production front since 2012, following releases Amsterdam's Rush Hour, W.T., and Internasjonal. His forthcoming 10-track effort shows off his eclectic tastes and features everything from acid and organic house grooves to melancholic strings and jazz interludes. "'It is what it is,'" Choi says. "This has been my guideline in the process of making this music: not thinking about a specific function, not imagining another place or time outside of it. Rather focusing on the process, the sound itself, the colors within."

Hunch Music is due out in spring although no official release date has been shared as of yet; further info is available here via Rush Hour's website. A teaser for the album can be streamed below, where its tracklist and a listing of Hunee's upcoming North American tour dates have also been included.

01. Woods
02. Crossroads
03. Silent Sensations
04. Rare Happiness
05. Burning Flower
06. Error of the Average
07. Failed Movement
08. Bruises
09. Hiding the Moon
10. Amo (Admiration)
11. The World

Tour dates:
April 10 – Pittsburgh, Hot Mass
April 11 – Vancouver, The Fox
April 17 – San Francisco, Public Works
April 18 – Los Angeles, TBA

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Cherushii "Wild Abandon" http://www.xlr8r.com/mp3/2015/04/cherushii-wild-abandon/ http://www.xlr8r.com/mp3/2015/04/cherushii-wild-abandon/#comments Fri, 03 Apr 2015 15:06:31 +0000 http://www.xlr8r.com/?p=89315 San Fransisco's Chelsea Faith (a.k.a Cherushii) is a composer, producer, live performer, and most importantly, an artist who knows how to craft a hard-hitting house track. It's easy to see why 100% Silk have signed her up for another release, this time around a new 12" and cassette album dropping later in the year. Before those come out though, Cherushii will be kicking off a free EP series on her Bandcamp page. The first EP, Nobody's Fool, is available now and includes the track we've been gifted here. "Wild Abandon" is a nine minute hardware driven groover, with sexy vocal chops and a rolling TR-303 bassline. It's not hard to draw the reference with the title of the track and the effect it would have on a dance floor. You can get the rest of the EP here, with a free download of "Wild Abandon" below.

Wild Abandon

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Preview Eduardo de la Calle's Forthcoming EP http://www.xlr8r.com/news/2015/04/preview-eduardo-de-la-calles-forthcoming-ep/ http://www.xlr8r.com/news/2015/04/preview-eduardo-de-la-calles-forthcoming-ep/#comments Fri, 03 Apr 2015 14:08:39 +0000 http://www.xlr8r.com/?p=89333 As reported over on Resident Advisor, Spanish veteran Eduardo de la Calle is to join the ranks of Boddika's NonPlus imprint later this month. The Sequoia Symposium EP—four cuts of tumbling analogue techno—is to be de la Calle's first release for the label. We've included the record's artwork and tracklist below, and preview clips of the tracks can be found on the Above Board Distribution website ahead of The Sequoia Symposium's full release on April 13.

delacalleart300
A. The King Parikshit
B. Sudha Nityananda Parivara Vaisnava
C. The Sudama Song
D. Sri Sri Ragendra DAS

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Premiere: Watch a Video for Cio d'Or's "XXII" http://www.xlr8r.com/news/2015/04/premiere-watch-a-video-for-cio-dors-xxii/ http://www.xlr8r.com/news/2015/04/premiere-watch-a-video-for-cio-dors-xxii/#comments Fri, 03 Apr 2015 14:00:10 +0000 http://www.xlr8r.com/?p=89310 Cologne "sound architect" Cio Dorbandt (a.k.a. Cio D'or) has been creating eerie, minimal works for over a decade now, releasing on an array of labels and collaborating with the likes of Gabriel Ananda and Donato Dozzy along the way. In 2009 she released her lauded debut LP, Die Faser, on Prologue, and later this year she'll turn out her second, all in all, this time for Svreca's Semantica imprint. Ahead of that, she has shared with us the striking video for album track "XXII." Directed by the29nov, the video is an undulating throb of liquid plumes, shadows and abstract shapes that's a little redolent of the otherworldly landscapes mapped out by Andreas Fischer to accompany Egyptrixx's A/B To Infinity album. It can be viewed in full below, ahead of the LP's full release early May, with the CD and EP following shortly after on May 19 on Semantica.

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Citizenn Announces Debut Album, Shares Lead Single http://www.xlr8r.com/news/2015/04/citizenn-announces-debut-album-shares-lead-single/ http://www.xlr8r.com/news/2015/04/citizenn-announces-debut-album-shares-lead-single/#comments Fri, 03 Apr 2015 13:10:37 +0000 http://www.xlr8r.com/?p=89328 Ascendant UK house star Laurence Blake (a.k.a. Citizenn) has announced that he'll release his debut album this summer via Damian Lazarus's Crosstown Rebels imprint. Entitled Human Interface, the record is said to be unabashedly technology-obsessed, concerning itself, in the Midlands-born artist's own words, with "its omnipresence in our daily lives and how we have become completely dependent upon it to survive.”

Crosstown Rebels will also drop the album's lead single "Tied" in May, and for now have made the track available to stream. The reliably old-school vocal house of "Tied" can be heard in full on the player below ahead of its release on May 18 as part of an EP that will include remixes from Murk, Adesse Versions and Denney. The Human Interface LP, meanwhile, will see the light of day on June 15.

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Further Future Announces Full Schedule http://www.xlr8r.com/news/2015/04/further-future-announces-full-schedule/ http://www.xlr8r.com/news/2015/04/further-future-announces-full-schedule/#comments Thu, 02 Apr 2015 22:09:56 +0000 http://www.xlr8r.com/?p=89304 A global community of nomads, dreamers, burners and music lovers will converge May 1-3 at an awe inspiring location in the Nevada desert, an hour outside of Las Vegas, for Further Future Voyage 001. The event will feature art installations, visionary speakers from the worlds of business, science, and technology, an assortment of food and beverage services; and a ridiculous lineup of electronic music artists including Actress, Damien Lazarus & The Ancient Moons, FaultyDL, Frank and Tony and Bob Moses. The Robot Heart Art Car from Burning Man will soundtrack each sunrise, with more surprises sure to be in store. For more information, the full lineup and ticket info, head here, and check out the latest video from Further Future below.

Further Future - Wonder from Further Future on Vimeo.

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Premiere: Hear A/Jus/Ted Remix Joakim's "Each Other" http://www.xlr8r.com/news/2015/04/premiere-hear-ajusted-remix-joakims-each-other/ http://www.xlr8r.com/news/2015/04/premiere-hear-ajusted-remix-joakims-each-other/#comments Thu, 02 Apr 2015 21:52:25 +0000 http://www.xlr8r.com/?p=89285 Genre-bending French producer Joakim (pictured above) will return to his own Tigersushi imprint later this month with a remix EP, entitled Each Other. Lead track "Each Other" first appeared on Joakim's 2014 full-length, Tropics of Love, and is treated to remixes from Pelican Fly's DJ Slow, New York duo A/Jus/Ted, French newcomer Vicram, and Joakim himself.

In their rework, Justin Strauss and Teddy Stuart of A/Jus/Ted re-imagine "Each Other" as a shuffling deep house cut, complete with swung drums, atmospheric vocals, and sprung bassline. The remix can be streamed in its entirety below, before the EP (tracklist also below) sees an official release April 27 in the UK and a day later in the US.

01. Joakim "Each Other"
02. Joakim "Each Other" (Joakim Remix)
03. Joakim "Each Other" (Vicram Remix)
04. Joakim "Each Other" (A/Jus/Ted Remix)
05. Joakim "Each Other" (DJ Slow Remix)

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AIM Festival Drops Full Artist Lineup http://www.xlr8r.com/news/2015/04/aim-festival-drops-full-artist-lineup/ http://www.xlr8r.com/news/2015/04/aim-festival-drops-full-artist-lineup/#comments Thu, 02 Apr 2015 20:05:41 +0000 http://www.xlr8r.com/?p=89299 AIM Festival has just released the full artist lineup for their inaugural year and we have to say, it's huge! The 'Art Innovation Movement' takes place June 26-28 at Parc Carillon, a beautiful waterfront site on the outskirts of Montréal and will feature three stages, and 32 hours, of non-stop music. All tickets are now available here, complete with camping and RV options, with the full lineup and video below.

MONTREAL AIM 2015 LINE UP from Montreal AIM Festival on Vimeo.

LINEUP

TIGA THE MARTINEZ BROTHERS JAMIE XX FOUR TET (LIVE)

KERRI CHANDLER, MARTIN BUTTRICH, PLEASUREKRAFT, KEVIN SAUNDERSON PARANOID LONDON (LIVE), PACHANGA BOYS, WOLF+LAMB, ISOLÉE (LIVE) PIG&DAN, GUY J, THREE, EDU IMBERNON, ALEXI DELANO, CHAIM, AXEL BOMAN PAOLO ROCCO, BEDOUIN, FORREST, EEKKOO, TESLA BOY (LIVE), NATURE OF MUSIC, DREEMS, AUNTIE FLO, THOMASH

MONTREAL HEROES

LOST HEROES, PAT BOOGIE, THOMAS VON PARTY, MIGHTYKAT, JAY LONDON, NATHAN BURNS & SOUNDSHAPER, SHASH'U, CRI, SHAYDAKISS, JOUBIN, PFREUD, NYMRA & SOFISTICATED, OHM HOURANI, MIKE LARRY, GREEN & LATEEZ, ADAM HUSA, JALIL, ALICIA HUSH (LIVE), HEAD NODDERS, ELECTRO-ACRYLIQUE (LIVE) … and more!

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Throwing Snow Announces New Single Series for Houndstooth, Shares Two Tracks http://www.xlr8r.com/news/2015/04/throwing-snow-announces-new-single-series-for-houndstooth-shares-track/ http://www.xlr8r.com/news/2015/04/throwing-snow-announces-new-single-series-for-houndstooth-shares-track/#comments Thu, 02 Apr 2015 16:31:14 +0000 http://www.xlr8r.com/?p=89292 Ross Tones (a.k.a Throwing Snow) will return to Fabric's label arm, Houndstooth, on April 6 with the release of his single Lumen. Following on from last year's brilliant LP MosaicLumen will be the first in a series of three, two-track digital releases for the London based label, with a deluxe packaged 12" dropping at the end of the year. The title track was debuted on Four Tet and Jamie xx's recent Essential Mix and is a shimming cut filled with broken beats and a soaring melody.

You can pre-order Lumen here, with a full stream provided below of both tracks.


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Haddon "Polyhistor" http://www.xlr8r.com/mp3/2015/04/haddon-polyhistor/ http://www.xlr8r.com/mp3/2015/04/haddon-polyhistor/#comments Thu, 02 Apr 2015 15:00:13 +0000 http://www.xlr8r.com/?p=89275 The last time we heard from Michael Haddon was in 2013 as a 19 year old music student and one half of the now defunct Cassetteworks. In that time, Haddon had been quite prolific on the music front, although until now, none of it has seen the light of day. His old Cassetteworks sparring partner, John Howes runs the Cong Burn Waves label and was recently sent a zip file from Haddon titled 'Archive Of Possibilities'. The zip served as a document of his creative output during that time and will now form the release Auricular Palimpsest. We've been gifted "Polyhistor," a gritty cut from the release which slowly unfolds from the static filled beginnings into a more graceful strut; topped with twisting pads and muted toms. Auricular Palimpsest will see release April 6 and can be pre-ordered here, with "Polyhistor" available for free below.

Polyhistor

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20 Questions: George FitzGerald http://www.xlr8r.com/features/2015/04/20-questions-george-fitzgerald/ http://www.xlr8r.com/features/2015/04/20-questions-george-fitzgerald/#comments Thu, 02 Apr 2015 13:00:47 +0000 http://www.xlr8r.com/?p=88345 The British DJ and producer George FitzGerald began working on his debut LP while spending time on Ibiza during the summer of 2013—but the album, Fading Love, isn’t exactly a celebration of the White Island’s party-time pleasures. “I do love Ibiza, and it’s very nice to go out there,” the soft-spoken artist tells XLR8R while he chows down on a late breakfast in New York’s Lower East Side, a few days before a headlining gig at Brooklyn’s Verboten. “But the studio I was working in was right on the strip, and you’d walk out the studio door and see all this neon and everything. You’re right in the middle of it. Sometimes I’d be like, what am I doing here? I started thinking back to when I was doing my first record; I thought of it as a counterpoint to the cheesy end of things. I wanted to go back to a feeling of not being a part of that.”

In that, he’s succeeded. Far from the excess of Ibiza, Fading Love, coming out April 28th on Domino imprint Double Six, is an emotive, intimate album, hinting at feelings of loss and sadness. Much in the vein of its previously released single, the yearning “Full Circle,” (featuring vocals from Boxed In’s Oli Bayston), the album is drenched in melody, rich in arrangement and imbued with an unmistakable hint of heartache. It’s the culmination of a career arc that’s seen FitzGerald, who’s currently based in Berlin, go from minimal-minded house-meets-dubstep, through hook-filled club anthems, to the new album’s heartfelt, personal songwriting and sumptuous production. That’s quite an evolution, considering FitzGerald’s first productions only hit the shops a half-decade ago, but it’s a progression that’s come about gracefully. And in case you were wondering, the dude still knows how to take care of the dancefloor—his Verboten set was killer.

1. Where are you from?
I’m was raised in northwest London, in the suburbs, and I was born in a place called Watford. People who know that word know it from the Watford Gap, which is where the north of England apparently starts. That’s not where Watford actually is, but it’s still about as much of a claim to fame as Watford has. It’s a complete nothing, a suburban kind of town.

2. Did you have any musical training as a kid?
I had piano lessons, but the more important thing was that I had an older brother who was a DJ, and I inherited his decks and some of his drum & bass records. I started collecting records when I was about 12 or 13.

3. Was drum & bass your first love?
No, that was just what my brother was into. I never really got drum & bass, really. At that point in London, you were either into drum & bass or garage—you couldn’t do both—and I was really into garage. I was at the age where garage was huge in the U.K.—well, in London, at least. At that point, it wasn’t really outside of London; it did later, when it went pop. I did love to mix with drum & bass records, which probably was one of the best ways to learn how to mix properly.

4. When you started going to clubs, were they mostly garage clubs?
I really wanted to go to those clubs, but I was still too young, and I would only occasionally be able to get into them. I had braces and a fake I.D. I was this very obviously dorky teenager, and at the time, one of the big things about the garage scene was that people dressed up: no hoodies, no trainers, nice shirts, that kind of thing. That made me even more obviously out of place.

5. At that age, did you have any dreams to become a club DJ and music producer?
No, no, no, no! [laughs] DJing was just something to do. At one point, I started DJing for friends, for these little parties. But after a while, that started to lose its luster. I was starting to get annoyed that I was playing other people’s music; I didn’t feel like I was really contributing much. I stopped DJing for a couple of years, in my early 20s. I actually first moved to Berlin around the mid ’00s for a while, and then I really started to get back into it, and started producing.

6. What it still garage that was inspiring you then?
Not, not at all—by then, garage had died a terrible death. In my late teens, I was into scratch DJing quite a bit; then it was grime, and that quickly developed into a fascination with dubstep. Grime and dubstep sort of occupied the same space for a while in London. You could hear the two at the same raves. If you asked the people who were doing things at [much-missed London club] Plastic People, which is where dubstep really started, half of them came from grime. But after a while, a lot of the people who were into the darker garage stuff started coming ever to dubstep; around the end of that time was when I started making music. I was also discovering techno.

7. This was during the late ’00s, when the dubstep-techno crossover movement was in full force in London, right?
Yeah, and really, the kind of dubstep that was coming out then was not dissimilar to the first few tracks I made. I didn’t really know that much about production back then. I knew enough to put something together, I guess—but I look back and realize how little I really knew.

8. What was your studio set-up back then?
It was all on the computer—a MacBook with Ableton on it. That’s basically still what I use; you can make things that sound amazing with Ableton or Logic. You just really have to know how to use it, and you need a few ideas. I know I just said that I didn’t know what I was doing at first, and those early tracks were a bit rough around the edges, but there were some okay ideas in there. A lot of the music I enjoy is like that. I kind of think that if you have too much gear, it actually gets in the way of good ideas.

If I’m just making house with sampled R&B vocals, how would anywhere know where I was coming from?

9. Your music has changed quite a bit since those early releases, and it feels if as if you’ve been heading towards the deeper, more emotive vibe of Fading Love for a while now. Has it been a natural evolution, or have you been consciously aiming for this sound?
I’m not sure it was really conscious. In the early days, I kind of felt the music I was making was a bit of a stylistic statement about the way that things were evolving with dubstep, postdubstep, and house. Then, at some point, I stopped caring about that. But I think the album is a return to that; I think I really cared about the style, and thought a lot about whether what I was doing was in any way fresh. Just before I started writing the album, I had gotten myself into a bit of a cul-de-sac. I think a lot of U.K. music had gone into a cul-de-sac; it seemed like a lot of it was rehashed ’90s house. I did a couple of songs in that style, and thought it was kind of interesting to be doing that, but I didn’t really feel like I could do anything more with it, so it wasn’t that interesting for me to be making it. If I’m just making house with sampled R&B vocals, how would anywhere know where I was coming from?

10. Your music often has a dreamy, romantic aura, throughout your career but particularly on the new album. Are you a dreamy, romantic guy?
Ha! I don’t know about that, but I’ve always aimed for something that’s euphoric, but in a melancholy way. That’s the kind of music I like to listen to, and that’s the kind of music I like making. I don’t like DJ tools. But because of the way some of my records sound, I think it’s quite hard to slot them neatly into a lot of sets; they don’t fit that neatly into the usual house or techno set. I tend not to make neat intros, one and a half minute outros, and all that—but that’s the music that I enjoy making.

Photo: Steve Gullick

Photo: Steve Gullick

11. So will there be DJ-friendly mixes of Fading Loves songs?
Uh…I’m not sure, really. I guess I should get around to doing some extended mixes!

12. Fading Love comes across as a coherent album, rather than just a series of singles. As somebody who was a singles artist up till now, was that difficult to accomplish?
Yes, a little. The whole focus, from the way the studio was set up—including the new stuff I bought to make the album–was geared toward making it sound cohesive. This is my body of work, not just a collection of tracks. I actually spent loads of time working on the beginnings and ends of the tracks so that they run into each other cohesively, and thinking about what keys they are in and that sort of thing. I also spent a lot of time thinking about the order of tracks. I mean, I know that many people pick and choose what they buy off the album instead of buying it as an entity, but it’s still important to me that if people want to go to track one to track ten, it will flow.

I think that, with this album, I’m moving away from club music.

13. Do you think you are still making music for clubs, or are you aiming for something else?
I think that, with this album, I’m moving away from club music. It’s not really a chill-out album…but it’s not really a club album, either. I don’t think I’m ever going to really leave club music—I still do like writing it—but I do feel like I’m moving in two different directions right now, so I’ll probably start using an alias when I do it. But you know, I think of the club as an idea rather than a physical entity nowadays, anyway. With things like Boiler Room and all the streaming things, there’s a whole set of people who don’t go to clubs, or have never even been to a club, but listen to the music. And you can hear that in a lot of the music that’s being made nowadays. Like with that whole PC Music thing—it’s no longer about actually being in the club, hearing the music in the club and dancing to it. The music just hints at the motif. In my own way, I’m kind of doing the same thing now.

14. You’re releasing Fading Love on Domino’s Double Six imprint. Was that mainly to reach a wider audience than you have in the past?
I wouldn’t say it wasn’t to reach more people. [laughs] I couldn’t picture myself signing with a major, and I felt like this was about as big a label as I would have been comfortable with, as far as having lots of freedom goes. And they’ve certainly allowed me that freedom. But it mainly had to do with stepping away from what I had done before. It’s a move away from releasing on an electronic music label; it’s more of an indie label, though they do have some electronic stuff. I don’t want to be a DJ forever. I want to be working as a producer, working with other people and producing other artists.

16.  You mentioned the album’s melancholy vibe earlier, and that vibe—along with the lyrical content and the album’s title—hint at a lost relationship. Does that stem from something that’s happened to you?
It’s a breakup album, really. It sort of documents the disintegration of a relationship. I was traveling a lot and away a lot, and it kind of charts the feeling of that time.

17. Was it cathartic for you to make this record?
Yeah, it was. But I should add that the name of the album has another meaning as well. It’s about me losing interest in the club environment to some degree. Music for clubs is often either melodramatically happy or melodramatically said, and as I said, I was interested in doing something that said a little bit more about my life.

18. You’ve enlisted  Lawrence Hart and Oli Bayston on vocals to help you convey these feelings. Is the first time you’ve used actual live singing, rather than samples, on your own music?
It is. I never approached anyone myself to sing on the album, though. Ryan McCann, the guy who signed me and does the A&R, knew I was looking for a bit of a change in direction, and he suggested that I work with these guys. He gets the credit. And it just clicked instantly with those guys. I’m hoping to be working with them a lot more in the future; we’re really on the same wavelength. I quite like the fact that they are both kind of indie-band guys, and I do electronic music, and we kind of meet in the middle.

19. Speaking of vocalists, were people surprised when that record you did with Katy B came out last year?
Yeah, they were! [laughs] Katy B’s people asked me to do it. She reminds me of the old U.K. garage–style vocalists—she has this girl-next door kind of vibe—and that kind of helped. I wanted to write something without my George FitzGerald hat on, so I was thinking, “What does a Katy B track sound like?” Or at least my take on that. It’s not the thing that I would put on my album, but I’m actually quite pleased on the track. That’s the fun of producing for other people; it kind of takes you outside of yourself in a way. I really enjoyed the process.

20. You’re on the road a lot. We all know touring can be a drag, but what’s the best part about it?
It’s the actually moment when you’re on. All the stuff around it, all the noise—hotels, travel, having to do this and that—can sometimes get you down. But when you stand behind the decks—the moment people stop bothering you and let you do your thing—that’s the most free moment that you can have.

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Pender Street Steppers Ready New 12", Share Previews http://www.xlr8r.com/news/2015/04/pender-street-steppers-ready-new-12-share-previews/ http://www.xlr8r.com/news/2015/04/pender-street-steppers-ready-new-12-share-previews/#comments Thu, 02 Apr 2015 12:29:44 +0000 http://www.xlr8r.com/?p=89280 It's no secret that Vancouver collective-turned-imprint Mood Hut is an XLR8R favorite (it topped our list of 2014's best labels), and today, previews for a new release from founding members Pender Street Steppers cropped up on the label's SoundCloud. Jack J and Liam Butler debuted in 2013 with the sought-after Life in the Zone cassette, followed by a couple of 12"s on PPU and Mood Hut. The a-side to their forthcoming single, "The Glass City," first showed up on the pair's Resident Advisor podcast back in January, and, like "Golden Garden" on the flip, features the MPC-drum grooves and lush synths of the Steppers' lo-fi, mellow house.

While an exact release date has yet to be announced, the arrival of "The Glass City" b/w "Golden Garden" is forecast for April, and clips for both tracks can be streamed below.

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XLR8R Teams Up with the 2015 Micro dB Festival http://www.xlr8r.com/news/2015/04/xlr8r-teams-up-with-the-2015-micro-db-festival/ http://www.xlr8r.com/news/2015/04/xlr8r-teams-up-with-the-2015-micro-db-festival/#comments Wed, 01 Apr 2015 23:15:01 +0000 http://www.xlr8r.com/?p=89242 We love Seattle—mostly as it brings to mind Decibel Festival, the Emerald City's annual September gathering which we continue to support through the years thanks to its fine curation of quality electronic-music performance, visual art and new media. This year's Decibel lineup is yet to be announced, but if past years are any indication, it will be fab. In the meantime, the fest's organizers aren't just waiting around—they're kicking things off with 2015 Micro dB Festival, a series of events designed to both welcome the spring and to pique interest in this fall's edition main event. Micro dB will consist of 25 artists playing at nine separate shows, held at four premier venues around Seattle from April 9th through April 30th. XLR8R is honored to be partnering with the Decibel crew in this venture, and if you check out the Micro dB schedule—which features everyone from Richie Hawtin, Ben Klock, and Chris Liebing, to Tale of Us, Thugfucker and John Talabot, through to Shlohmo, Clark and Deadbeat—you'll see why. Tickets and more info are available here.

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Seth Troxler and Public Enemy's Chuck D Pair Up for IMS Engage http://www.xlr8r.com/news/2015/04/seth-troxler-and-public-enemys-chuck-d-pair-up-for-ims-engage/ http://www.xlr8r.com/news/2015/04/seth-troxler-and-public-enemys-chuck-d-pair-up-for-ims-engage/#comments Wed, 01 Apr 2015 21:50:11 +0000 http://www.xlr8r.com/?p=89250 IMS Engage will return to Los Angeles for it's third consecutive year on April 15, taking place at the W Hotel, Hollywood. The summit focuses on pairing icons and innovators from the worlds of finance, technology, music, and media, to address the ever growing influence of electronic music.

One of the first conversation pairings announced included Detroit born, techno trailblazer, Seth Troxler in conversation with hip-hop icon and Public Enemy co-founder, Chuck D. The pairing of these two outspoken artists is sure to spark some intelligent, engaging, and without a doubt, humorous debate. Troxler, who famously called Steve Aoki a c*nt at the 2014 IMS in Ibiza, never holds back and will be an exciting pairing with the hip-hop icon, "I am truly honored to be given a chance to sit down in conversation at IMS LA with Chuck D, one of the true pioneers, innovators and rebels of the hip-hop movement,” said Troxler. “Back in the day artists like Chuck D had the balls and vision to thrust hip hop into the political domain and form a bridge between music and politics that I personally feel very strongly about. It's going to be an interesting debate and I look forward to seeing my Dad Sherman sitting front-row as he's a huge Public Enemy fan!"

After it's previous two years, IMS Engage has emerged as a key event in the North American music industry calendar with this years summit increasing to 350 delegates. Tickets are starting at $220 and are available from the IMS website here.

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Premiere: Stream The Revenge's New Live Set http://www.xlr8r.com/news/2015/04/premiere-stream-the-revenges-new-live-set/ http://www.xlr8r.com/news/2015/04/premiere-stream-the-revenges-new-live-set/#comments Wed, 01 Apr 2015 18:39:01 +0000 http://www.xlr8r.com/?p=89209 Although he has been releasing music since 2004, Graeme Clark (a.k.a The Revenge) only this week released his debut album, Love That Will Not Die, via his own Roar Groove imprint. It shows an artist at the top of his game, masterfully bringing together his love of disco and slowed-down house to beautiful effect. In support of the album Clark has debuted an all new, totally live set up which will be part of the Love That Will Not Die tour.

The tour touched down at Badaboum, Paris two weeks ago, where the below live set was recorded. “I’ve DJ’d at Badaboum a couple of times before and it’s always been a great vibe - but this was my first live show outside of the UK and I was a bit more on edge just because there was a lot more to go wrong!" Clark says, "The live show is only an hour long, but it consumes much more attention and energy from me as there are so many elements to deal with. It’s like a skydive or something, once you let go you need to focus and relax at the same time - to feel the moment as it happens otherwise you miss the full experience. It makes it really special when the crowd feel that too and I think this recording reflects some of that energy.”

The official album launch party for Love That Will Not Die will take place tomorrow in Glasgow at Sub Club's temporary 'Sub Hub,' where Clark will be doing a short live performance and a Q & A. You can check out the exclusive premiere of the live set recorded at Badaboum below, with his upcoming live tour dates.

Live shows:
June 26th - Glastonbury Festival
July 4th - Fabric, London
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XLR8R Teams with France's Nuits Sonores Festival http://www.xlr8r.com/news/2015/04/xlr8r-teams-with-frances-nuits-sonores-festival/ http://www.xlr8r.com/news/2015/04/xlr8r-teams-with-frances-nuits-sonores-festival/#comments Wed, 01 Apr 2015 18:29:33 +0000 http://www.xlr8r.com/?p=89063 We here at XLR8R are excited to be partnering with Nuits Sonores, the annual music-and-arts festival held yearly in France's second city, Lyon. And why shouldn't we be excited? After all, the gathering has been one of Europe's most interesting, thought-provoking and plain-old fun soirees for 13 years now. Nuits Sonores has a heavy focus on visual and digital culture; to that end, there are a variety of arts-oriented activities spread across its five days (and nights) and multiple, city-wide, venues. But as you would expect from a fest with a name that translates as night sounds, the self-described "cross-disciplinary panorama of creativity" has so many fab DJs and brilliant artist that the mind boggles: Âme, Ben Klock, Carl Craig, Goldie, Marcel Dettmann, Moodymann, John Talabot, Jon Hopkins, Laurent Garnier, Nils Frahm, Shackleton, the Orb, Voices From The Lake—that's just a small sampling of the sonic pleasure that await. Luckily, we can look forward to an upcoming XLR8R / Nuits Sonores podcast collaboration as we count down. This year's installment runs from May 13 through 17— we recommend you pick up your ticket tout suite.

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Bok Bok Drops a New Video for "Papaya Lipgloss" http://www.xlr8r.com/news/2015/04/bok-bok-drops-a-new-video-for-papaya-lipgloss/ http://www.xlr8r.com/news/2015/04/bok-bok-drops-a-new-video-for-papaya-lipgloss/#comments Wed, 01 Apr 2015 16:08:41 +0000 http://www.xlr8r.com/?p=89227 Bok Bok has just announced the music video for his latest single "Papaya Lipgloss" with composer and keyboardist, Sweyn Jupiter. The video is by visual artist and fellow Night Slugs cohort, Nic Hamilton and is a hyperreal interpretation of the track. You can check the video below, along with Bok Bok's upcoming tour dates.

April
9th Vancouver - The Alexander
10th LA - Fade To Mind @ Jewel’s Catch One
11th Houston - Rice University
15th Kansas City - Riot Room
16th Detroit - The Works
17th Chicago - Them Flavors @ Primary
18th NYC - Fade To Mind @ 88 Palace
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Dadub's Daniele Antezza to Release Solo LP as Inner8, Shares Track http://www.xlr8r.com/news/2015/04/dadubs-daniele-antezza-to-release-solo-lp-as-inner8/ http://www.xlr8r.com/news/2015/04/dadubs-daniele-antezza-to-release-solo-lp-as-inner8/#comments Wed, 01 Apr 2015 15:35:29 +0000 http://www.xlr8r.com/?p=89223 Daniele Antezza is best known for his work as one part of experimental techno duo, Dadub, and as co-founder of the Artefacts Mastering Studio, who master most of the Stroboscopic Artefacts releases, among many others. Antezza will now be releasing his an LP from his Inner8 moniker, which, up until now had been a private nickname for his "experimental anarchist sounds". The 12 track album will come out via the newly formed Undogmatisch label, which Antezza runs alongside long-time collaborators Mirco Magnani (aka T.C.O) & Valentina Bardazzi.

The new album, as expected, is a journey into the nether regions of sound and experimentalism and one with both esoteric and exoteric qualities. You can listen to one of the cuts, "The Irony Of Karma (Part 2)," below.

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Malcolm "Falcon Lake" http://www.xlr8r.com/mp3/2015/04/malcom-falcon-lake/ http://www.xlr8r.com/mp3/2015/04/malcom-falcon-lake/#comments Wed, 01 Apr 2015 15:00:13 +0000 http://www.xlr8r.com/?p=89213 Malcolm is a New York based producer who's track "Falcon Lake" will be released via NYC imprint UNO's GIVEITWAY14. Other than his ties to the label, little is known of Malcolm, which only adds to the atmosphere of the track. "Falcon Lake" kicks things off surrounding the listener with a barrage of mutated acid bass hits, before a rough edged groove crawls out of the depths, locking you in and moving things forward. Faint growls rise and fall throughout the tracks eight minutes, with the acid line evolving almost endlessly; before eventually folding in on itself and disintegrating completely. It's a hallucinatory ride through machine-like techno, and one well worth your time. "Falcon Lake" can be grabbed below for free and keep an eye on UNO for more.

Falcon Lake

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Get to Know: Vincent Floyd http://www.xlr8r.com/features/2015/04/get-to-know-vincent-floyd/ http://www.xlr8r.com/features/2015/04/get-to-know-vincent-floyd/#comments Wed, 01 Apr 2015 13:46:07 +0000 http://www.xlr8r.com/?p=89184 Vincent Floyd and Armando Gallop were just teenagers when house music exploded in Chicago in the mid-1980s. As childhood friends who grew up across the street from one another on Chicago’s southwest side, they attended and threw their first parties together and shared what they’d learned about producing music, as well as keyboards and drum machines. Each released records on hallowed record labels like Trax Records or Dance Mania, and both have discographies studded with records now considered to be Chicago house classics.

But where the late Armando is remembered as a foundational figure in the genre’s history, Floyd is seen as more of a footnote, except to dedicated collectors. The most influential of these is Antal Heitlager, head of powerhouse Dutch label Rush Hour, who met with Floyd in 2013 and set in motion an ambitious reissue campaign that includes an entire album’s worth of previously unreleased material called Moonlight Fantasy. One wonders, why is Floyd receiving acclaim only now? And how did two artists who were so closely linked end up on completely different career arcs?

Floyd was born and raised in Brainerd, a middle class neighborhood just west of the I-94E highway that divides Chicago’s east and west sides. Surrounded by records at home and growing up around uncles who were professional musicians, he followed in their footsteps by learning the piano and guitar while obsessively listening to the radio his grandmother bought him. A fervent fan of the Beatles, Stevie Wonder, Michael Jackson, and Prince, he applied his talents to a slew of basement bands that spanned rock and soul.

Disco was still the dance sound of Chicago in the early 80s, even as it was giving birth to proto-house. Floyd first heard this new hybrid sound at Loop Roller Rink on 95th Street, tagging along as a then 14-year-old Armando Gallop made his DJing debut. Enthralled but lacking the necessary tools, it would be a few more years before Gallop and Floyd would try their hand at making house music.

Gallop was first to invest, buying Roland’s 303 and 707 drum machines and learning to use them along with Chris “Bam Bam” Westbrook and other neighborhood kids. In 1987, he made his debut with “Land Of Confusion,” a seminal acid house record that garnered a great deal of attention from Chicago’s DJs and dancers. Floyd, meanwhile, had begun making house music as well on a low key basis, but was more involved as a guitar player, both in bands and as a session musician at Blueheart Studios and Hairbear. He also studied sound design at Columbia University Chicago.

“[Armando] used to say to me, ‘Man, you're just doing this for yourself. You're just doing it for you!’”

It wasn’t until 1990, at Gallop’s behest, that Floyd considered showing his house tracks to record labels. “[Armando] used to say to me, ‘Man, you're just doing this for yourself. You're just doing it for you!’” Floyd says with a chuckle. Gallop had racked up a handful of hit records by then, his latest being a Dance Mania EP introducing the world to Robert Armani, another Chicago producer. When he connected Floyd with Ray Barney, the proprietor of Dance Mania, the latter snapped up a handful of tracks that would become his long awaited debut.

That record, “Your Eyes,” left no doubts about Floyd’s talent as a writer or his production prowess. While many of his peers, including Gallop, were releasing banging, utilitarian tracks shot through with acid, Floyd’s sound was largely serene and thoroughly musical. “Your Eyes,” which features the impassioned vocals of Chan, takes cues from musical heroes like Prince and nods to Floyd’s contemporaries in Fingers Inc. There’s innovation at the same time, helping lay the foundation for decades of deep house with rolling hand drums, tasteful guitar licks, and gauzy melodic swells washed away by samples of waves crashing.

Floyd would explore this specific vein further on “Cruising (Long Ride),” released on Resound Records, the label he started through a P&D agreement with Gherkin Records. Inspired by long drives up Lake Shore Drive, the street that runs along Lake Michigan for almost the entirety of Chicago, the 12 minute long track is hypnotic and mellow, wrapped in dreamy pads and laced with whirling pitches and heavenly leads. The flip side, “Isolation,” is predictably even more placid. Yet it’s the only release Resound Records ever had. Even Dance Mania only got one more record out of him in 1991, the treasured “I Dream You.” It would be another four years before Floyd’s next release.

"I believed people thought I sucked. I never got any feedback [on my music] whatsoever. It was never played. I never heard it."

Unlike the present, when the feedback loop between artists and audiences has become so short, getting feedback on your work was once rather difficult unless you had particularly high profile. “Back then, I believed people thought I sucked,” Floyd admits. “I never got any feedback [on my music] whatsoever. It was never played. I never heard it. A few times WBMX would play "Cruising," but I just figured it didn't do anything.”

His perceived lack of success was reinforced by his relationships with record labels, which offered no indication of how well his records sold. It just didn’t seem like there were many reasons to release more music. “I'm perfectly cool with having all of my bad stuff to myself, but having my bad stuff out there-- it's like your child. If your child acts a fool in the house, you're a lot less affected by it than if they're out in public, letting everyone see them act a fool. So I kept it to myself.”

Despite this, Floyd was musically active the entire time. He recorded guitars and keyboards for many artists on Rockin’ Records and others, like Candy J. He continued DJing and promoting parties he and Gallop threw on Chicago’s south side. He even went on tour as a keyboardist for Larry Heard in 1992, when Mr. Fingers was on MCA Records. And between recording at home and at the studios where he worked, Floyd kept amassing unreleased tracks. Some eventually found their way onto EPs for Cajmere’s Relief Records in 1995 and Rated X Records and Subwoofer in 1996, most of it harder, faster, and less nuanced than his earlier records.

Vincent Floyd with Armando

Vincent Floyd with Armando

That same year, Gallop was diagnosed with leukemia. Floyd was by his side at the hospital nearly every day. “We figured everything would be ok, because when you're young, death is the furthest thing from your mind,” Floyd remembers. “Even when it's the bleakest situation ever, you're optimistic that it will be better. But it wasn't better.” On December 17th, 1996, Gallop passed away at age 26. Coping the death of his best friend during a typically brutal Chicago winter, Floyd looked for an escape. He and a friend packed their belongings and moved to San Fernando Valley, California.

There he rejoined the music industry, but not as a dance music producer. Floyd revisited his instrumentalist roots, performing in alternative rock bands, jazz combos, and producing the occasional R&B instrumental. But the music industry in California was even more voracious than the one he’d left in Chicago, offering few chances to move up in the ranks or be compensated for hard work. Floyd returned to Chicago in 2000 shortly after the turn of the millennium, using his musical education to teach music to young kids in Chicago public schools

“Do what your calling is, because all of that extra stuff... the years go by very, very quickly. Wake up, go to work, go home, sleep, repeat.”

When I met Floyd in Hyde Park on Chicago’s south side, he didn’t seem particularly enthused about his current career. While discussing jobs he urged, “Do what your calling is, because all of that extra stuff... the years go by very, very quickly. Wake up, go to work, go home, sleep, repeat.” But the smile returned to his face and excitement entered his deep, animated voice when the conversation turned to his music. Thanks to Facebook, Floyd is now well aware of how highly coveted his early records are, and is in regular contact with fans. “I get messages every day from people from places like Africa, Ireland, Germany, Spain, the U.K,” he attests, “I had no idea anything ever sold anywhere.”

The Internet also connected him with Antal from Rush Hour, who suggested reissuing “Your Eyes”. Antal then began combing through hundreds of songs Floyd recorded between 1991-1995, many made for an sci-fi themed album that was never released despite the promises of a handful of labels. “When stuff isn't going through, I don't chase people around,” Floyd says. These finally see the light of day on the recently released Moonlight Fantasy album, containing cuts like “Dark Matter,” “Dawn Notes,” and “Imaginary Voyage” that are unwitting predecessors to the deep house aesthetics now commonly found on records by Move D, Jack J and the Mood Hut collective, and many more. A reissue of “I Dream You” is in the works, as well.

Now more confident in his artistry, Floyd is eager to put his music into the world. He’s been fielding offers for previously unreleased material, both new and old. A few months ago he visited a nightclub for the first time in years and plans to return at least once a month. “I think you just have to, even if it's just to hear music on some real speakers,” he notes. “You can certainly become lost if you don't go out.” And he’s getting back into DJing with hopes of returning to the decks of Chicago’s clubs someday soon.

Imagine if Floyd had received just some of the recognition and praise pouring in now when he was first releasing records—the underground mystique surrounding his first three records would be likely replaced with a general sense of reverence towards an indispensable figure in Chicago house history, kind of like his friend Armando. But now the dance music world is more aware of this tremendous artist than ever, and can start making up for lost time and admiration.

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