XLR8R http://www.xlr8r.com Accelerating music & culture Thu, 27 Aug 2015 17:08:18 +0000 en-US hourly 1 Premiere: Stream Idjut Boys' New Album in Full http://www.xlr8r.com/news/2015/08/premiere-stream-idjut-boys-new-album-in-full/ http://www.xlr8r.com/news/2015/08/premiere-stream-idjut-boys-new-album-in-full/#comments Thu, 27 Aug 2015 17:01:46 +0000 http://www.xlr8r.com/?p=100531 Tomorrow, London's Dan Tyler and Conrad McDonnell (a.k.a. Idjut Boys) will release their new album, Versions, via Oslo-based imprint Smalltown Supersound.

Versions is a gorgeous eight-track collection of reworked dub and disco jams that Tyler and McDonnell collated from hundreds of hours of music from their vaults. Touching on house, dub, and disco, the album is a loose and abstract journey through a storied 20-year career.

Versions can be preordered here ahead of tomorrow's release, with the full album streaming below.

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Weekly Selections: SmartBar, Piknic Electronik, Outlook Festival http://www.xlr8r.com/news/2015/08/weekly-selections-smartbar-piknic-electronik-outlook-festival/ http://www.xlr8r.com/news/2015/08/weekly-selections-smartbar-piknic-electronik-outlook-festival/#comments Thu, 27 Aug 2015 16:00:19 +0000 http://www.xlr8r.com/?p=100432 Tonight in Chicago, Bassweight presents The Fractals album tour  with London grime and dubstep artist Silkie at Smart Bar, supported by Smart Bar residents DJ The Tornado and Chris Widman.

Piknic Electronik Montreal invites residents from their Piknic counterpart in Barcelona to take over the Moog stage this Sunday with acts including Madrid's Pional Musiq (check out his XLR8R podcast), Atomnation's Sau Poler, and Canada's Bassilus C (live).

Kicking off next Wednesday is the eight edition of Croatia's Outlook Festival, also considered one of the largest soundsystem culture festivals in Europe. The festival will span four days with an impressive array of stage performances by acts like Mount Kimbie, Goldie, and Run The Jewels... as well as the obligatory boat parties with this years hosts including Swamp 81, Just Jam, Renegade Hardware and others.

For more events and to search events in your city visit our events page.

THURSDAY AUGUST 27

hiddenroots tba

Hidden Roots Residency Night w/ Alex Loaiza, Da Groove, Mario Polanco & Pablo Romero.

TBA Brooklyn - Brooklyn, NY, US
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Bushwick A/V Legal feat Anthony Collins + Lukas Bonaventura + Cylo + Noble

TBA Brooklyn - Brooklyn, NY, US
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INPUT | Afro-Acid Presents: Phuture (live)/ DJ Pierre/ Turtle Bugg

Output - Brooklyn, NY, US
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Lenny Fontana, Michael Vieiera and Stevetek

Cielo - New York, NY, US
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The Magic Number | The Twilite Tone/ Natasha Diggs in The Panther Room

Output - Brooklyn, NY, US
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Nervous Records Presents | Joe Grossman + Viviana Toscanini

Cielo - New York, NY, US
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Fractals Album Tour with Silkie * Chris Widman * DJ The Tornado * DJ Belly B2B Vader

Smartbar - Chicago , IL, US
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WKND

Studio 80 - Amsterdam, Noord-Holland, Netherlands
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FRIDAY AUGUST 28

midnight magic output

Midnight Magic on The Roof

Output - Brooklyn, NY, US
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One Night in Brooklyn

TBA Brooklyn - Brooklyn, NY, US
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Golf Clap

Bar Standard - Denver, CO, US
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Framework presents Soul Clap with Marques Wyatt

Sound Nightclub - Hollywood, CA, US
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Yokoo [All Day I Dream] at Do Not Sit On The Furniture

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Planet Chicago with Efdemin * Sassmouth B2B Phil Stone

Smartbar - Chicago , IL, US
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FABRICLIVE 28.8 Playaz Carnival Special w/ DJ Hype, Hazard, Newham Generals & more

fabric - London, London, United Kingdom
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CLONE – JACK FOR DAZE

Studio 80 - Amsterdam, Noord-Holland, Netherlands
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47.4 w/ TOMMY FOUR SEVEN, BAS MOOY, RITZI LEE & I/Y

Arena Club - Berlin, Germany
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SATURDAY AUGUST 29

studio80 mysteryland

Mysteryland Afterparty

Studio 80 - Amsterdam, Noord-Holland, Netherlands
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Mysteryland (NL) 2015

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TheHundred Presents - Crew Love (Soul Clap, Wolf + Lamb, No Regular Play)

Club Vinyl - Denver, CO, US
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Continuum

TBA Brooklyn - Brooklyn, NY, US
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Desert Hearts & Summerdaze Present...City Hearts Toronto x Summerdaze Season Closing!

District 28 - Toronto, Ontario, Canada
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FIXED On The Roof | Pional/ JDH & Dave P

Output - Brooklyn, NY, US
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Oscar G (Open to Close) at Output and HR & SKI (Open to Close) in The Panther Room

Output - Brooklyn, NY, US
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Inception Presents Sian | Joel Mull | Raíz | Jia + Eric J.

Exchange LA - Los Angeles, CA, US
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Siren Release Party | Darshan Jesrani/ Dennis Kane at Stilton House

Output - Brooklyn, NY, US
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Teri Bristol & Psycho-Bitch All Night Long

Smartbar - Chicago , IL, US
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fabric 29.8 w/ Ricardo Villalobos, Ben Klock & Warm with Prosumer

fabric - London, London, United Kingdom
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KLUBNACHT

Berghain/Panorama Bar - Berlin, Germany
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SUNDAY AUGUST 30

PE Barcelona

Piknic Électronik Bcn #10 (Dour Festival) - MR, Scruff + Kill Frenzy +Surfing Leons + DJ Coco

Jardins de Joan Brossa - Barcelona, Spain
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Piknic Electronik Montreal - Barcelona Piknic

Parc Jean-Drapeau - Montreal, QC, Canada
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Dutty Artz presents: Brunch Gozón

TBA Brooklyn - Brooklyn, NY, US
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After the Park w/ Spin D & Jonathan Storm

TBA Brooklyn - Brooklyn, NY, US
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WERD. | Residents Friends at Monarch

Monarch - San Francisco, CA, US
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Sasha Carassi

Output - Brooklyn, NY, US
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Queen! with MICHAEL SERAFINI * GARRETT DAVID * SPECIAL GUEST MYSTIC BILL + HOSTS SISSY SPASTIK * JOJO BABY & GUEST HOST JAY JAY

Smartbar - Chicago , IL, US
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MONDAY AUGUST 31

monday social

Monday Social feat. Doc Martin & Garth at SOUND

Sound Nightclub - Hollywood, CA, US
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TUESDAY SEPTEMBER 1

extra dark

Extra Dark: Stateschoolgirl

Kung Fu Necktie - Philadelphia, US
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WEDNESDAY SEPTEMBER 2

outlook fest

Outlook Festival 2015

Fort Punta Christo - Pula, Croatia (Local Name: Hrvatska)
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Clinic with Rampue Live (Audiolith) & Guests

Couture - Hollywood, CA, US
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MID

Studio 80 - Amsterdam, Noord-Holland, Netherlands
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Interview: All Day I Dream http://www.xlr8r.com/features/2015/08/interview-all-day-i-dream/ http://www.xlr8r.com/features/2015/08/interview-all-day-i-dream/#comments Thu, 27 Aug 2015 15:01:09 +0000 http://www.xlr8r.com/?p=100375 “Many parties don’t have an identity—often it is just house or techno, and nothing else besides a big room. Sometimes that is enough, but I always knew that I wanted something more.”

One alluringly dressed woman to the left, another “dreamer” to the right. The exquisite evening sun is setting in the distance, the rooftop terrace now just dark enough to reveal the beautiful fairy lights and colorful lanterns hanging from the bamboo structures above. Flower beds and fabrics are draped across the DJ booth, inside which stand Lee Burridge and Matthew Dekay, both grinning as they share their signature style of emotional techno to a sold-out crowd, all of whom revel in the magical atmosphere that has become such a big part of the All Day I Dream party.

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Since its inception on a Brooklyn rooftop on in the late summer of 2011, All Day I Dream has evolved from a one-off event into an acclaimed day-party series that is complimented by a small, but widely respected, imprint. Installments in New York, Miami and Los Angeles, which run from June until September, regularly sell out within hours, and its growing reputation has seen it exported to cities including Barcelona, Berlin and Sydney. In what is becoming an increasingly saturated market, All Day I Dream has carved itself its own unique identity.

With the close of yet another successful season nigh, XLR8R sat down with founder Lee Burridge and partner Matthew Dekay to hear their thoughts on the reasons behind the brand’s prosperity, and discuss the challenges they face as they look to take it forward.

Brooklyn, 2011: The first ever All Day I Dream party

Brooklyn, 2011: The first ever All Day I Dream party

To understand the initial motivations and the name behind the concept, it's necessary to wind back to 2008: Having discovered a new-found appreciation for dreamy and melodic techno, Burridge compiled the All Day I Dream of Her mix for his then-girlfriend, which was then subsequently released as a Resident Advisor podcast. Driven to give this music a platform, and having spotted a “gap in the market for New York parties,” he began the event because he wanted there to be "one place for people to come where they could connect with each other through the music.”

“The music out there was very stripped back and so was the experience,” Burridge recalls. “Parties had become a ketamine experience, with men dressed in black all staring at their shoes. I came from 1987, when you went to a party in a field where you didn’t know anybody—but you wanted to know everybody. Somewhere that all got lost along the way, so I decided to try to change that with the production. I wanted people to be giving and connecting with each other through the music. I saw all this potential and I just knew I had to do something.”

Over time, this nebulous vision in Burridge’s head became “very pure,” he says, in part supported by the studio work of Dekay. Having really connected with the sound of Burridge’s fabled mix, and finding himself inspired the All Day I Dream concept, Dekay explored its musical identity in the studio before launching the label. “Lee was very specific about the All Day I Dream experience,” Dekay says. “I was like a producer composing music to the picture that Lee was painting in my head.”

It was then decided that the name of the RA mix perfectly “matched their intentions,” Burridge says. “I love the ability that certain music has to take you away to a different place and that it induces dreamlike states in people. Eyes closed. Middle of dance floor. We've all been there. I wanted people to embrace the idea of daydreaming to music all afternoon over certain moments in a set. Add to that the locations of the parties, the time of the events, the open clear blue skies. It really couldn't have been called anything else.”

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While timing—namely, the the rise of electronic music as a genre-has certainly supported this success, “it is ultimately the production that reaches out to people,” Burridge says. All Day I Dream parties are almost always held outside because the “mute color of the sky provides a perfect canvas for all the beautiful colors,” and have a soundtrack that is based around “valleys” rather than “peaks and troughs. Most parties are based around the creation of this energy which has to be uplifting and ‘hands in the air’—but we shy away from playing in a formulaic way to get a formulaic response. The music actually becomes slower and more emotional towards the end of the night.” Absent, too, are the strobe lights and metal trussing, replaced instead with fairy lights and bamboo. Everything in the room is carefully placed to compliment the music and create a more organic aesthetic. As a result, the atmosphere is soft and amiable—and with more female energy than the regular party experience. Great emphasis is also placed on the quality of the sound. “The nature of the music means it doesn’t drive the party so we make sure that people can feel every aspect of it,” Burridge explains.

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The pair now looks to expand the brand they have together created—but in doing so they must also be careful to protect its identity. While the thriving state of electronic music unquestionably provides a robust platform on which All Day I Dream can prosper, there is also a danger that the inevitable growth of its profile could account for it’s downfall by polluting the atmosphere created by the close-knit community of colorful and vibrant people that attend. Central to this endeavor is marketing, and the ever-growing profile of Burning Man—the festival around which the whole All Day I Dream aesthetic was based. “I think it protects itself. There is a mindset with these parties—a certain type of people who they attract,” Burridge says. And instead of using a plethora of advertising vehicles to push it’s profile, the duo rely on word of mouth. “The fact that we never use paid advertisements has definitely helped,” he continues, before revealing that one paid advertisement in Time Out New York magazine “changed the crowd” so much. “We didn’t recognize any of the people that came out, just because we had advertised. It really is that delicate.”

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In terms of growth, the next step is establishing a following on European shores. 2014 saw the series arrive in Barcelona, and it has recently found a home in London and Berlin. But as well received as these events have been, Burridge and Dekay recognize that they may have to be more patient on that side of the Atlantic. “My profile as an artist has always been bigger in America than anywhere else and so that had to be the foundation,” Burridge says. “In Europe there have been so many parties that it has created mild apathy towards new events. Everyone has seen it and done it before, so they don’t experience All Day I Dream with a fresh set of ears and a fresh soul,” he adds. "That said, I see no reason why it wont grow [in Europe].”

Loose plans are also in place to push the reaches of the events. All Day I Dream parties normally take place on selected Sundays and run from early afternoon until late-evening— but “next year we are going to see a lot of new things that we are going to try out,” hints Dekay. The pair are looking to expand with new stages, and perhaps even a festival—in good time. “While it’s important to have common thread in the ADID party, we must have freedom to develop—otherwise we’re just a circle turning inward,” explains Burridge. The issue, and something of which the pair are both aware, is one of scalability: How do you retain the integrity of the music and the sense of togetherness with a bigger audience?

Along with the imprint, which is carefully managed to ensure focus remains on the event, All Day I Dream has quickly established itself as an accomplished platform for its style of emotive techno. In this sense, the pair have set out what they have achieved to do—but this still feels like the beginning of a bigger movement. “This music now has a voice—but there is more music out there that needs a platform. Perhaps we can provide a platform for that too? I think there is a lot more to explore,” explains Dekay.

“We are trying to not have walls with what we are saying,” adds Burridge as he leaves the room to play his set. “I feel that we could actually do something quite important for both ourselves and other artists by allowing a musical freedom that doesn’t exist in a number of other places or labels.”

Together, they could well achieve just that.

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Stream Debut EP from Delicate Droids on Superfreq http://www.xlr8r.com/news/2015/08/stream-debut-ep-from-delicate-droids-on-superfreq/ http://www.xlr8r.com/news/2015/08/stream-debut-ep-from-delicate-droids-on-superfreq/#comments Thu, 27 Aug 2015 15:00:26 +0000 http://www.xlr8r.com/?p=100369 Classically trained jazz musician Richard Ruttenberg and veteran DJ Peter Dutch (aka. Dutchie) are by no means newcomers to the music game. Together, they make up the newly formed tech house duo Delicate Droids who just recently dropped its debut EP, Orgasm Raygun, on Mr. C and David Scuba’s label, Superfreq.

For the past thirteen years, Superfreq mainstays Mr. C, David Scuba and Noel Jackson have been essential components in constructing a vibrant underground tech house scene in London. Organizing various events throughout the city and releasing a large volume of releases, the sound of Superfreq remains as an essential component of the underground electronic scene in the UK. Ruttenberg, who is a professional sound score writer, and Dutch, who has been spinning a wide variety of music since the 80’s, have come together to produce a four-track EP that is bound to help any late-night vibe endure. The basslines and abounding soundscapes scattered throughout its debut release showcases the pair's expertise when it comes to constructing simple, yet compelling, tech house.

You can buy Delicate Droid's Orgasm Raygun EP on Beatport, or stream the entire EP below. Be sure to check out more from the Superfreq family here.

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Preview: Montreal's Bacchanale Festival http://www.xlr8r.com/features/2015/08/preview-montreals-bacchanale-festival/ http://www.xlr8r.com/features/2015/08/preview-montreals-bacchanale-festival/#comments Thu, 27 Aug 2015 13:00:55 +0000 http://www.xlr8r.com/?p=100273 You're undoubtedly familiar with Montreal's MUTEK. You may know about Piknic Electronik and Igloofest. But unless you're from the City of a Hundred Steeples (thanks for that one, Mark Twain), you probably aren't aware of the city's  new Bacchanale Festival. We suspect that will change soon, though. An offshoot of La Bacchanale, a series of throwdowns held throughout Montreal—past events have featured such world-class artists as Jeff Mills, Ellen Allien and Ben Klock—the inaugural edition will be held at the Old Port, kicking off with an opening party on Sunday, September 6 and culminating with a weekend of revelry from Friday, September 18 through the following Sunday. In the words of the team behind the festival, "We are proud to introduce you to our dream project: a nomad festival, offering a utopian alternative to our current urban unrest. Bacchanale Festival inspires to be an art piece aiming to diffuse certain fundamental values in which we believe in in regards of today’s society. Nomadic by essence, Baccchanale Festival is a multidisciplinary festival. Each edition will present a new and different theme, revealing a new world!"

Pearson Sound

Pearson Sound

Sounds great—we love to diffuse fundamental values—but what will really garner a lot of attention is the lineup, which leans heavily on iconic pioneers like Phuture, Lil Louis, and Octave One; rock-solid vets such as Norm Talley, ExtraweltThomas Melchoir, and Delano Smith; and a cornucopia of other great DJs and producers from both the local and worldwide scenes, including Pearson Sound, Claire, Alessandroid, Answer Code Request and Pär Grindvik. We were certainly intrigued—so we reached out via the magic of e-mail to one of La Bacchanale's cofounders, Martin Loutrel, to find out more.

What was the motivation in starting La Bacchanale? What was the philosophy behind it?
It all began out of a dream to first realize our own events in Montreal, and keep growing until eventually making up our own festival. It was not always defined, but we all had the big idea in mind.

Basically, every edition of our festival would be inspired by a special theme. It would offer various experiences, from music to visual art, design, dance and other forms of art. The music would play a major role, and would offer what’s best in terms of electronic sounds, and more precisely house and techno music.

Overall, the objective is to create a piece of art where we’re able to express and translate an idea during an event.

Does that philosophy still hold true today?
Yes it does, although it's been subject to change since our debut of course. The main debate is based on the contrast between the amount of music we’d like to add, and the experience we would like to create on top. The experience is our challenge. It’s hard to define and to create. That’s why it has always remained secondary so far. But we work harder and harder to make it happen at every event we create.

The theme of the inaugural Bacchanale Festival is "Ancient Future"—could you elaborate a bit on that?
It’s interesting the way that some of our generation is becoming more and more conscious about social and environmental issues. Especially in Montreal, there is a movement towards solidarity, and less towards individualism. It’s like we’re going back to more fundamental values like respect, love, and sharing. Ancient Future is a reflection of this tendency, most notably by inviting some of the most renowned DJs and artists who have marked the history of electronic music.

In the lead-up to the festival, have there been moments when you've thought, “Holy crap, what have I gotten myself into?” Do you still ask yourself once in a while?
We ask ourselves this question every day!

Montreal seems like such a great city for festivals, both for electronic music and for music in general. What role does the city play in the success of La Bacchanale, if any?
There is indeed a good history of festivals, among which the electronic scene is well represented. This really helps establishing our project in more significant ways. That being said, we do not rely on this to be successful—on the contrary it encourages us in trying to be everyday more innovative and creative.

Jeff Mills at La Bacchanale

Jeff Mills at La Bacchanale

I’m sure there have been many sets or moments that have blown you away at La Bacchanale, but are there any that you can pinpoint?
Jeff Mills and Robert Hood were probably the two sets that have impressed us most. Jeff Mills was so energetic, the atmosphere so electric. I think this event will long remain in Montrealers' memories. Likewise, Robert Hood always provides such clean sets, bringing up classical sounds. He was definitely up to what people expected from him when he came over to Montreal.

This year’s edition has such a strong lineup. What is the selection process like when you are putting together your lineup?
First and foremost, we try to respect a set of guidelines which fits our preferences. Today, our identity is more oriented towards house and techno. However, this is not fixed and could potentially embody a broader range of musical genres in the future. One member usually takes care of contacting and booking artists—however it is the whole team which decides who will play or not.

Photo: Marie Staggat

Octave One: Photo: Marie Staggat

The lineup features iconic veterans (Phuture, Lil Louis and Octave One, for instance) as well as newer artists. Do you think it's important to pay tribute to the music's heritage?
Of course! It's important because the techno movement is entering a new dimension today, and the new generation needs to understand where it comes from and what it means. We did not necessarily choose the biggest headliners, but those we believe have talents and are recognized for it. With such a lineup, we want to establish a new trend, and not follow the current tendency of booking the top 20 biggest acts all playing at the same time during the festival.

Do you plan on continuing to produce the festival for as many years as you can? Or can you see an endpoint?
Our dream is, similarly to Cirque du Soleil, to create a series of nomad festivals that move to different cities all around the world. For every edition, we create a different world in which people are plunged into. One day, we'll hopefully get there!

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Creme Organization Announces Jericho One Sublabel and First Three EPs http://www.xlr8r.com/news/2015/08/creme-organization-announces-jericho-one-sublabel-and-first-three-eps/ http://www.xlr8r.com/news/2015/08/creme-organization-announces-jericho-one-sublabel-and-first-three-eps/#comments Thu, 27 Aug 2015 10:30:30 +0000 http://www.xlr8r.com/?p=100451 Creme Organization has announced its new sublabel, Jericho One, and the first three releases—which will come from BNJMN, Noface, and House Of Black Latterns.

Jericho One was launched to expand on the musical reach of Creme Organization, with the new label focusing itself towards "a more ominous, techno, breakbeat, bass and dare we say "bigroom" oriented area without diluting the already overcrowded bunks of the Mothership any further."

Up first for Jericho One will be BNJMN's four-track Skur EP—which lands on September 28—followed by Warrior Charge from Noface, and Leather Jacket Love Stories from House Of Black Latterns, which will arrive October 9 and November 9, respectively. You can find previews of all three EPs below.

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Giorgio Gigli Announces Debut Album http://www.xlr8r.com/news/2015/08/giorgio-gigli-announces-debut-album/ http://www.xlr8r.com/news/2015/08/giorgio-gigli-announces-debut-album/#comments Thu, 27 Aug 2015 10:25:00 +0000 http://www.xlr8r.com/?p=100492 Giorgio Gigli has announced his debut album after a period of personal growth on his own Zooloft Records imprint.

In the same way his DJ sets reflect the spirit of that evolution, The Right Place Where Not to Be explores sophisticated ambient layers as much as obsessive and hypnotic techno landscapes.

The Right Place Where Not to Be is scheduled for October 23 via Speedy J's Electric Deluxe imprint.

Tracklisting: 

Ø1 / Ø – Il future è solo un ricordo di uno stupendo passato (Everything Begins Here)
A1 / 1 – Last Frame of Myself
A2 / 2 – Surrounded
B1 / 3 – Eve of Destruction
B2 / 4 – Nocturne
C1 / 5 – The Silence Was Infinite
C2 / 6 – Through Leaden Clouds
D1 / 7 – Shades of Depth

 

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Blank Code Detroit Announces New 12" From Joe Sousa http://www.xlr8r.com/news/2015/08/blank-code-detroit-announces-new-12-from-joe-sousa/ http://www.xlr8r.com/news/2015/08/blank-code-detroit-announces-new-12-from-joe-sousa/#comments Thu, 27 Aug 2015 10:00:06 +0000 http://www.xlr8r.com/?p=100095 Representing the latest wave of raw techno coming out of Detroit, Blank Code is a record label that continues to build momentum by having high quality producers on its side, while also constructing a strong following based on its resident DJ lineup and a well-known party series titled "Scene." Since the start of the label back in 2012, Blank Code has seen a plethora of heavyweight techno records from the likes of Brian Sanhaji, DrumcellMaterial Object, and Luis Flores. The label also has a lineage of securing premiere remix packages that include productions from Brendon Moeller as Echologist, Mike Parker, and Project 313.

Next up for Blank Code is an EP on the more exclusive arm of the label called Blank Code Limited. The Porphyria EP, from Michigan based producer Joe Sousa, is slated for release on August 31, and will be distributed as a high quality digital download over on Beatport.

Check out Blank Code's last compilation featuring artists from the label, and check out the Blank Code website for more information on their upcoming releases.

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Stream a Track from the New Rival Consoles Album http://www.xlr8r.com/news/2015/08/rival-consoles-announces-third-studio-album/ http://www.xlr8r.com/news/2015/08/rival-consoles-announces-third-studio-album/#comments Thu, 27 Aug 2015 09:54:02 +0000 http://www.xlr8r.com/?p=100497 London-based electronic producer Ryan Lee West, better known as Rival Consoles, has announced his third studio album, entitled Howl.

Foremost a guitarist, growing up listening to rock rather than club music, West continues to strive towards finding a more personal balance between music for home listening and larger spaces. The title track was inspired by the howl-like tones he developed by running synths through guitar pedals.

"By slowly drifting the pitch through distortion and delays, the result sounded like vocal cries–something which was perfect for the song and this inspired me to take on a darker set of tones across the whole album. It was made over the past few years, inspired by capturing small performances on synths, touring with some of my musical heroes, playing with feedback when I should have been catching a train, sampling my voice in unexpected conditions and recording textures in different countries.”

The album explores a wide range of emotions; from the dissonance eruptions and primal rhythms in '"Howl", to the mournful improvisations of "3 Laments", which features a sample of his own voice. Alongside his performances on Moog, Prophet, tape delay and guitar, West enlisted the help of drummer Fabian Prynn for "Low" and cellist Peter Gregson for "Walls", both long-time collaborators of Erased Tapes peers Douglas Dare and Michael Price.

"This album features a lot of my own recordings, rather than simply using samples that I have sitting on my computer. This gives the album a more personal feeling, which is very important to me because I think we live in a time where there is just so much recorded material out there, and accessible at a click of a button, that the joy of recording your own drum sounds, your own percussion, your own claps, seems redundant–but it’s not! That should be a priority because its often more interesting and makes you choose a different creative path."

Ahead of the album's October 16 release via Erased Tapes, title track "Howl" can be streamed in full below.

'Howl' track listing:
01 Howl
02 Ghosting
03 Afterglow
04 Pre
05 Walls
06 Low
07 3 Laments
08 Morning Vox
09 Looming

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Stream a Track From Luke Vibert's Upcoming LP on Planet Mu http://www.xlr8r.com/news/2015/08/stream-a-track-from-luke-viberts-upcoming-lp-on-planet-mu/ http://www.xlr8r.com/news/2015/08/stream-a-track-from-luke-viberts-upcoming-lp-on-planet-mu/#comments Thu, 27 Aug 2015 08:00:32 +0000 http://www.xlr8r.com/?p=100421 Luke Vibert is no stranger to aliases. Having multiple iconic production identities, with numerous albums to each name, makes it easy to see why Luke continues to be one of the most prolific, multi-genre producers of the last 20 years. Vibert first became known all over the world for his 1994 debut trip-hop album, Phat Lab Nightmare, under the moniker Wagon Christ, which was quickly followed up by the now classic full-length album Throbbing Pouch under the same name.

Vibert is now ready to share another full-length album on October 16 via the legendary IDM and breakcore record label, Planet Mu. The new album, titled Bizarster, will mark Vibert's seventh full length under his own name—with his previous albums finding homes on Mo' Wax, Warp, and Hypercolour. The new album will be available in multiple formats, including digital, CD, and a double 12" vinyl package. You can pre-order the album over on the Planet Mu website, and you can stream the title track from the album right here on XLR8R.

Track List:

01. Knockout
02. Officer's Club
03. Hey Go
04. Ghetto Blast Ya
05. I Can Phil It
06. Manalog
07. War
08. Bizarster
09. Power Press
10. L Tronic
11. Doozit
12. Don't Fuck Around

Tour Dates:

Thu, 10 Sep 2015 / Bestival 2015
Sat, 19 Sep 2015 / Altern 8 - Full on Live Hysteria at Bloc (Autumn Street), London
Sat, 10 Oct 2015 / Upitup presents: Luke Vibert
Sat, 17 Oct 2015 / Luke Vibert & Alexander Robotnick / Ireland
Sat, 14 Nov 2015 / Shapes 4th Birthday with Hypercolour at The Marble Factory / Wales

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IDYLL "Bad Boi (Nadastrom Dubstermental)" http://www.xlr8r.com/mp3/2015/08/idyll-bad-boi-nadastrom-dubstermental/ http://www.xlr8r.com/mp3/2015/08/idyll-bad-boi-nadastrom-dubstermental/#comments Thu, 27 Aug 2015 01:04:30 +0000 http://www.xlr8r.com/?p=100434 Since the release of their debut EP One, vocalist Angelina Lucero and producer Jojo Yang—who make up the female duo IDYLL—have gained a solid amount of traction as of late. The combination of Jojo’s stirring, trap-influenced beats and Lucero’s dazzling vocal melodies manifest into a truly mesmerizing and wistful collaboration. Now available for download exclusively on XLR8R is a remix of IDYLL's track “Bad Boi” from another duo hailing from Washington D.C., Dave Nada and Matt Nordstrom, who make up the group Nadastrom. The remix strips away some of the edgy, haunting elements of the song by adding in light percussion and a loitering rhythm that is altogether complemented by a sparse, unpredictable bassline and cold, swooning pads.

While XLR8R will only be offering the instrumental version of the remix as a free download, it is well worth it to check out the original track from IDYLL as well as the original remix from Nadastrom. The album One, and Nadastrom's "Bad Boi" edit, are both out now via Friends of Friends, with IDYLL's full album streaming on its website here.

Bad Boi (Nadastrom Dubstramental)

 

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Premiere: Hear a Track From Nadja Lind & Paul Loraine's New EP http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-the-new-nadja-lind-paul-loraine/ http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-the-new-nadja-lind-paul-loraine/#comments Wed, 26 Aug 2015 22:39:55 +0000 http://www.xlr8r.com/?p=100374 Next month, Wolf Trap will release Velocity, the new EP from Lucidflow's Nadja Lind and Rhythm Cult label head, Paul Loraine.

The four-track EP kicks off with the title track, "Velocity," a dubby house cut that finds the regular collaborators settling into their groove early with intricately placed percussion and wobbling chords. The other original, "Left Of Centre," heads into tougher territory, with Lind and Loraine applying the tension for a more peaktime-focused cut. Vince Watson applies his hand to the title track, twisting it into a more rolling affair, before Animalz turn up the pressure for a deep and dark take on "Left Of Centre."

Ahead of next month's release, "Velocity" is streaming in full below.

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Mika Vainio and Franck Vigroux Announce Collaborative Album http://www.xlr8r.com/news/2015/08/mika-vainio-and-franck-vigroux-announce-collaborative-album/ http://www.xlr8r.com/news/2015/08/mika-vainio-and-franck-vigroux-announce-collaborative-album/#comments Wed, 26 Aug 2015 18:57:24 +0000 http://www.xlr8r.com/?p=100360 Mika Vainio and Franck Vigroux have announced a collaborative album, entitled Peau froide, lèger soleil. 

Peau froide, lèger soleil is the result of a three year recording process, initiated by Mika Vainio and Frank Vigroux after a series of shared live experiences.

The album is scheduled for release October 22 via Shapednoise, Ascion, D.Carbone aka Honzo’s Cosmo Rhythmatic  imprint.

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Amsterdam Dance Event Announces More Acts for 20th Edition http://www.xlr8r.com/news/2015/08/amsterdam-dance-event-announces-more-acts-for-20th-edition/ http://www.xlr8r.com/news/2015/08/amsterdam-dance-event-announces-more-acts-for-20th-edition/#comments Wed, 26 Aug 2015 18:07:15 +0000 http://www.xlr8r.com/?p=100347 The Amsterdam Dance Event (ADE), the world's biggest club festival and business hub for electronic music, has today revealed a second selection of artists that will perform from October 14-18.

The ADE is preparing for its 20th anniversary edition with an expected 2,200 performing artists at one hundred of the most diverse venues in Amsterdam. The organization is expecting 365,000 visitors from all over the world.

Among the second selection of artists are:

Âme (DE), Andrew Weatherall (GB), Andy C (GB), Awanto 3 (NL), Bakermat (NL), Barnt (DE), Beesmunt Soundsystem (NL), Benny Rodrigues (NL), Bicep (GB), Bingo Players (NL), Blawan (GB), Boris Brejcha (DE), Boys Noize (DE), Clouds (GB), Dâm-FunK (US), Dannic (NL), Davide Squillace (IT), Delta Funktionen (NL), Derrick May (US), Detroit Swindle (NL), Dimitri (NL), Dixon (DE), DJ Bone (US), DJ Jean (NL), Dominik Eulberg (DE), Dusky (GB), Eats Everything (GB), Eelke Kleijn (NL), Eprom (US), Falco Benz (NL), Fatima Yamaha (NL), Fedde Le Grand (NL), Felix Da Housecat (US), Floorplan (US), Gabriel Ananda (DE), Gallowstreet Brass Band (NL), Gerd Janson (DE), Goldfish (ZA), Gramatik (SI), Gui Boratto (BR), H.O.S.H. (DE), Heidi (DE), Hernan Cattaneo (AR), Hot Since 82 (GB), Howling (DE), Interstellar Funk (NL), Jackmaster (GB), James Zabiela (GB), Jamie Jones (GB), Jennifer Cardini (FR), Job Jobse (NL), John Digweed (GB), John Talabot (ES), Josh Wink (US), Kaiserdisco (DE), Kerri Chandler (US), KiNK (BG), Kölsch (DK), Laidback Luke (NL), Loco Dice (DE), M.A.N.D.Y. (DE), Magda (PL), Mano Le Tough (IE), Marc Romboy (DE), Marco Bailey (BE), Marcus Worgull (DE), Mark Knight (GB), Masters At Work (US), Max Cooper (GB), Maya Jane Coles (GB), Michael Mayer (DE), Miss Melera (NL), Miss Nine (DE), Mount Kimbie (GB), Move D (DE), Noir (DK), Oliver Koletzki (DE), Optimo (GB), Paco Osuna (ES), Patrice Bäumel (DE), Paul Ritch (FR), Pete Tong (GB), Pig & Dan (ES), Popof (FR), Prosumer (DE), Rachel Green (NL), Recondite (DE), Richy Ahmed (GB), Ripperton (CH), Roman Flügel (DE), Roog (NL), Sandrien (NL), Scuba (GB), Sevdaliza (NL), Skream (GB), Soul Clap (US), Stephan Bodzin (DE), Steve Rachmad (NL), Stimming (DE), Tama Sumo (DE), The Advent (PT), The Black Madonna (US), Todd Terry (US), Tom Trago (NL), Torus (NL), Vato Gonzalez (NL), Voices From The Lake (IT), Weval (NL), William Kouam Djoko (NL), Young Marco (NL) and many others.

These acts join previously announced artists including:

Adam Beyer (SE), Armin van Buuren (NL), Black Coffee (ZA), Bonobo (GB), Carl Cox (GB), Dave Clarke (GB), David Guetta (FR), DJ Qu (US), Dubfire (US), George FitzGerald (GB), Green Velvet (US), Hardwell (NL), Henrik Schwarz (DE), I-F (NL), Jeff Mills (US), Joran van Pol (NL), Len Faki (DE), Maceo Plex (US), Martin Garrix (NL), Moodymann (US), Nina Kraviz (RU), Noisia (NL), Nuno dos Santos (NL), Octave One (US), Richie Hawtin (CA), Rødhåd (DE), Sandrien (NL), Stanislav Tolkachev (UA), Tiësto (NL), Tyree Cooper (US) and many more.

More information can be found here.

 

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Ninja Tune and Novation Team Up on Launchpad App for IOS http://www.xlr8r.com/news/2015/08/ninja-tune-and-novation-team-up-on-launchpad-app-for-ios/ http://www.xlr8r.com/news/2015/08/ninja-tune-and-novation-team-up-on-launchpad-app-for-ios/#comments Wed, 26 Aug 2015 17:27:17 +0000 http://www.xlr8r.com/?p=100246 The Novation Launchpad is arguably one of the most stable, straight forward, portable and affordable pieces of music gear on the market today. Having teamed up with the immensely prominent English music label Ninja Tune, the Novation Launchpad App (available for iPhone and iPad users) has announced the release of its first two artist soundpacks, which feature tracks from Machinedrum and Lapalux

These soundpacks, which can be purchased for 1.99 each, allow you to personally build, deconstruct, reinterpret and record the cut “Gunshotta” off Machinedrum’s album Vapor City (Ninja Tune) and Lapalux’s track “Moments” off his ambient and downtempo EP When You’re Gone (Brainfeeder). The multi-button grid on the app comes with eight diffrent soundpacks and allows users to play up to eight loops simultaneously with a variety of performance FX (autofilter, gater, delay, stutter). The app can be downloaded for free via itunes and you can learn more about the Launchpad by going here.

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John Talabot, Barnt, Tessela, and More Remix Jamie xx http://www.xlr8r.com/news/2015/08/john-talabot-barnt-tessela-and-more-remix-jamie-xx/ http://www.xlr8r.com/news/2015/08/john-talabot-barnt-tessela-and-more-remix-jamie-xx/#comments Wed, 26 Aug 2015 15:50:14 +0000 http://www.xlr8r.com/?p=100322 Following the release of Jamie xx's debut LP earlier this year, In Colour, Young Turks has detailed an upcoming remix EP for the track "Loud Places." Due for release in just a few days, the record collects reworks from John Talabot, Tessela, Barnt, Matthew Herbert and Special Request. Only the first effort, from Talabot, has been aired previously. Stream it below before Loud Places – Remixes drops on August 28. (via Resident Advisor)

01. Loud Places (John Talabot Loud Synths Reconstruction)
02. Loud Places (Tessela Remix)
03. Loud Places (Barnt E-Mix)
04. Loud Places (Herbert Louder Dub)
05. Loud Places (Special Request Remix) - Digital Only

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Labels We Love: Fachwerk Records http://www.xlr8r.com/features/2015/08/labels-we-love-fachwerk-records/ http://www.xlr8r.com/features/2015/08/labels-we-love-fachwerk-records/#comments Wed, 26 Aug 2015 13:00:57 +0000 http://www.xlr8r.com/?p=100123 Mike Dehnert final 1Almost eight years have passed since Mike Dehnert founded Fachwerk Records from the comfort of his own home. Driven forward by Dehnert's desire to focus on little more than the music, and supported by in-house artists Sascha Rydell and Roman Lindau, the Berlin-based imprint has grown into one of the world’s leading techno labels, extolled for the relentless quality of its output. To mark the occasion, the label has announced plans to release 8 Years Fachwerk, an 15-track compilation that  captures the label’s evolution with members of the trio each contributing their unique perspective to the anniversary piece.

In advance of the compilation’s September 4 release, XLR8R visited Dehnert to learn more about the running of the DJ, producer and live performer's flourishing imprint, reflect on its unplanned ascendancy, and discuss his calculated methods of protecting the signature Fachwerk sound.

Fachwerk has been a great success since its inception in 2007. Did you ever envision this?
No. Fachwerk’s success was certainly not planned. As a label head, I do what I like and it’s just grown from there. It makes me laugh because when I started the label, everyone told me that techno labels just do not work, and that I must focus on a more minimal output. I told them “No”—and just went off to do the techno stuff that I wanted. So sitting here now, is still amazes me that we’re celebrating the label’s eighth anniversary.

What was the reason for starting the label?
I just wanted a challenge. I had this vision to start a techno label, and that is just what I did. I was so fed up of people telling me that I couldn’t start a techno label, and I wanted to prove to people that you can start a label that doesn’t focus on a minimal music. It felt like I was fighting everybody all the time, but it’s actually been a lot easier than I first anticipated. I started off by putting the records in the record stores, like Hard Wax, and then suddenly it worked.

Is running a label something you had been thinking about for a long time?
Yes. I have wanted my own imprint ever since I was 17, but I had absolutely no idea how it worked. I released my first record when I was 17 years old—and my parents had to sign the contract! I studied economics, and after that I liked the idea of being in business, but it somehow had to be related to music. That’s when I knew I wanted to start a label.

Is it fair to say you also wanted a label to put out your own productions, too?
That’s true. I wanted a label through which I could put out my own productions without compromise. I wanted to produce what I wanted to produce, and release what I wanted to release.

Where does the name Fachwerk come from?
It’s to do with architecture. It’s linked to the English word framework or timber framing. There is no big idea or amazing story behind it—but I think that in between techno and house there is a space, and that is where I wanted the sound of the label to be. It made sense and sounded right.

"The label has become known for nothing else besides the music, and I am very proud of this."

When you started the label in 2007, where was the label headquartered?
In my head—and that is still where it is today. I now have a small office in my flat and also a studio, but I pretty much run the label from my head. For me, my head is the office. It took eight years for me to get the hang of it, but it is mostly just delegating and making decisions now. I don’t really need an actual office.

You work closely with producers Roman Lindau and Sascha Rydell, but do you actually run the label by yourself?
It is just me. Roman and Sascha are producer friends of mine who regularly release on the label. We discuss Fachwerk a lot, but it is only me who makes the final decisions, does the artwork and runs the finances. I do everything. It is a full-time job, especially with my production work and DJing, and sometimes I am very busy. It sounds like a lot but I have always been very good at making decisions and this saves me a lot of time. I have also become very fast at producing so it has certainly become easier.

Sascha Rydell, Roman Lindau and Mike Dehnert

Sascha Rydell, Roman Lindau and Mike Dehnert

How clear was your vision of the label before you started it? Did you have a very clear image of the sound you wanted the label to release?
The vision was the music, and the people gave us the image. There was no business model or plan of where we wanted to go—I had only an idea of the music that I wanted to release through the label. It’s funny because we have never really promoted the label, yet the Fachwerk output is still played all over the world. The label has become known for nothing else besides the music, and I am very proud of this.

The growth of electronic music has resulted in thousands upon thousands of music labels, many of which don’t succeed. Why do you think Fachwerk has been different?
I think a lot of labels concentrate too much on the business side of things—like the image and promotion. In many ways, the music then becomes secondary to everything else. It becomes more like a company than a music label, and so they don’t have any identity. On the other hand, there are certainly labels that focus too much on the music and then they sometimes don’t last more than a year. I don’t know how Fachwerk has lasted eight years. I guess we have found the balance, but I’ve just done what has felt right and that just seems to have worked.

"I don’t want to tell people that I am cool, or that they have to listen to it because this DJ played it during this set. I want people to discover it on their own."

Has this desire to focus more on the music affected how you promote the label?
Yes. When I started the label there was a MySpace account, but there was no Facebook. The only promotion was the music. I don’t want to tell people that I am cool, or that they have to listen to it because this DJ played it during this set. I want people to discover it on their own. The same is still true now—but the label must have Facebook to connect with the fans.

So you’d say that the musical output of Fachwerk has been the key factor in the label’s success?
Certainly. For me, it is very important that each EP we release is interesting. It makes me laugh, because I always have people coming to me telling that that there is a “Fachwerk sound” or something like that—and this sonic identity is important. It’s like how you can identify a Levon Vincent track straight away.

If you give me a computer, I can make a standard techno EP in 10 minutes. That’s no problem. The challenge is making a nice contrast on the release, because this takes a lot of time—but this is so important for me. It’s easy to release 20 EPs a year with no character, but then that is more like a business than a label. Fachwerk has always been different, because it focuses on very few releases—but each one must have this artistic contrast. I’m very careful with this.

In order to protect the Fachwerk signature sound, do you have to be careful about which of your own productions you put out through other labels?
This is very important. I have artists and labels writing to me to invite me to release on their labels, but the danger is that if I put a Fachwerk-sounding track out on another label it will damage Fachwerk. Looking back, I have been very careful, and I think you can see the difference between the productions that I put out on Fachwerk and those on other labels. I actually recently had a big offer  from a company that wanted to make a Fachwerk sample pack. It was tempting…but I knew that if I had accepted it, then everybody would then sound like Fachwerk and the label would be damaged.

"I can recognize a Fachwerk artist within five seconds of listening to a demo.

How do you balance the protection of this sound with offering artists creative control?
It’s important to give artists complete creative control. In this case I am the label head but they are the artists and I hate it when artists ask me for my opinions on what to do with a track. If the artists cannot fix their own tracks, then it is not really artwork. Creative control is the priority.

So do you keep the number of artists intentionally small to ensure quality of output?
Not intentionally, no. The problem is that I can't find the artists who have a sound that fits with the label. I can recognize a Fachwerk artist within five seconds of listening to a demo. I don’t know why—but I can. I can’t tell you what this sound is but I can recognize it. It’s an instinct.

Do you listen to all the promos that you receive?
I receive a lot of promos, but there are not many of them that I actually like. I think a lot of artists send out their tracks like spam, because they copy lots of labels into the same e-mail. I think it has to be slightly more personal. But at the same time there are lot of artists who try to copy-paste the Fachwerk sound—and that doesn’t work, either.

A lot of the promos that I receive will come with 12 tracks and a note telling me that they want to release an EP on the label. I am a label head, and not a producer in this case—so I cannot make the decision as to which of those tracks go on the EP. That is not my decision to make because I am not the artist. If you want to release an EP, send the completed EP. If you want to release an album send the complete album. I can then take it or leave it, depending on whether I like it and whether it would fit in with the label.

Do you ever proactively search for artists to release on the label?
The release schedule is already full for the next five years—and I have enough material for the next decade. I could release digitally every week, but I limit the number of releases to only about four each year. However, if I discover something really great then I will make arrangements for a special release—like I did with Limo.

 "I think this has probably influenced the sound of the label and the artists that work with the label because the tracks are not very fast and they are not packed with orgasm breaks every twenty seconds."

The artists that you work with on Fachwerk are mostly Berlin-based producers. Is this a conscious decision, or is just linked to the sound you’re trying to put out?
It’s not a conscious decision, but my history of playing in Berlin has probably influenced the output of the label. In my experiences with the Berlin clubs, the warm-up is about five or six hours, and then there is the prime time. But that is it—there is no after-hour. I think this has probably influenced the sound of the label and the artists that work with the label, because the tracks are not very fast and they are not packed with orgasm breaks every twenty seconds. I think that has probably also made the records sound more relaxed in their arrangements.

What are your thoughts on formats?
It’s always been very important that Fachwerk releases are available on vinyl. A number of big companies told me for many years that it makes sense only to release digitally, but I think this is the downfall for a lot of labels. I can see that the young generation are crazy for vinyl, and I think this has been important to our success.

And how do you balance the output of full-length albums and EPs?
I really like the album format because it is like a story. You have more time and space to express yourself artistically. But a good album is a very difficult thing to write, so I try to be careful as to which artists release albums on Fachwerk. An album is a story from the artist—it is not easy to do.

Do you have any particular artists that you would like to release on the label?
Not really. I actually have some artists who have written to me, asking to release on Fachwerk—but the problem is that I don't have the money available to pay for the advances. I think also that sometimes their sound doesn’t fit in with what I am looking to achieve with the label. If I was thinking from only business a business perspective, then I would release these tracks because it would grow the label very quickly—but it wouldn’t fit in with the label’s culture.

Looking back over the eight years of Fachwerk, are there any releases that stand out in particular?
It’s very difficult. It doesn’t feel like there were too many peaks, rather it is just a process of steady growth. For me, every release is really good, and that’s why we’ve created a Fachwerk sound. However, I would say that the fifth release, the MDRL EP, was really cool because it has “Umlaut 2”—which is the most licensed track of the catalog. Also the start of the label nights at Berghain in 2009 definitely helped to establish the label internationally. The next one is on September 5—which will be another long night.

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Call Super Details Upcoming Migrant EP on Houndstooth http://www.xlr8r.com/news/2015/08/call-super-details-upcoming-migrant-ep-on-houndstooth/ http://www.xlr8r.com/news/2015/08/call-super-details-upcoming-migrant-ep-on-houndstooth/#comments Wed, 26 Aug 2015 12:05:59 +0000 http://www.xlr8r.com/?p=100297 Call Super (a.k.a. JR Seaton) has revealed details of his latest EP, Migrant, which is due for release on September 25 via the Fabric-affiliated Houndstooth label. The British producer and former XLR8R podcast contributor's debut full-length, Suzi Ecto, earned widespread praise across the board and was named one of XLR8R's best albums of 2014, with his Fluenka Mitsu EP released only a few months later on Nous. The two tracks on the new record reportedly see Seaton "develop his detailed, quixotic sound with his palette of shady drums and svelte bass work," and are described by the label as "Dreamlike pieces to rotate you into the night." Hear clips for both tracks here, or stream "Meltintu" in full over at Resident Advisor.

callsuperart_082615

01. Migrant
02. Meltintu

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Preview Aïsha Devi's Debut LP on Houndstooth http://www.xlr8r.com/news/2015/08/aisha-devi-readies-debut-album-on-houndstooth-streams-track/ http://www.xlr8r.com/news/2015/08/aisha-devi-readies-debut-album-on-houndstooth-streams-track/#comments Wed, 26 Aug 2015 11:33:01 +0000 http://www.xlr8r.com/?p=100291 Danse Noir founder Aïsha Devi (formerly known as Kate Wax) has unveiled details of her debut album, Matter and Spirit. Named for Devi's grandfather, a physicist and CERN employee, the album was reportedly inspired by their conversations on "sound, vibrations, and the parallels between physics and spirituality." Its 10 tracks span a "moving landscape of interconnected themes and experimental techniques," with “vortices of haunting sounds created from [Devi's] own vocals and production."

"My process of creation takes its source in meditation, mantras, shamanism, healing frequencies," Devi says. "The idea is to trigger a social and spiritual awareness through music." Matter and Spirit follows her latest EP, Conscious Cunt, and drops on October 2 via Fabric-affiliated label Houndstooth. Its lead single, "Mazdâ," premiered via FACT yesterday and can be streamed in full below.

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Hear a Track from the Debut CW/A Album http://www.xlr8r.com/news/2015/08/hear-a-track-from-the-debut-cwa-album/ http://www.xlr8r.com/news/2015/08/hear-a-track-from-the-debut-cwa-album/#comments Wed, 26 Aug 2015 10:12:57 +0000 http://www.xlr8r.com/?p=100286 CW/A have announced their  debut album, Words Unspoken, Acts Undone.

Since their inception CW/A have forged a path through the murky world of electronic music, with a number of releases on Vakant, M_REC and their own Parachute Records. Previously accomplished musicians in their own right, Thomas and Francesco joined forces in 2013 to begin a live project that took the act of performance into the club. Shying away from typical setups so prevalent nowadays, CW/A bring to the club a level of live performance which they’ve now translated into their first full-length.

Weighing in at 11 tracks the album demonstrates the duo's musical heritage of early Warp style bass but also UK Jungle and Downwards-influenced dub Techno. This isn’t an album that looks back with any misty-eyed nostalgia, it respectfully brings its nineties influences straight into 2015, seamlessly weaving from genre to genre with an up-to-date element to the production.

If you’re expecting an album of rave breaks or straight up 4/4, you won’t find it here, but if you’re ready to leave behind that which you’ve heard already, Words Unspoken, Acts Undone will reward you from the moment you drop the needle.

Ahead of the album's October 16release on CD and 2x12", "19-9241--75-13294" can be streamed in full below.

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Hear the Lead Single from Rabit’s Debut Album, Communion http://www.xlr8r.com/news/2015/08/hear-the-lead-single-from-rabits-debut-album-communion/ http://www.xlr8r.com/news/2015/08/hear-the-lead-single-from-rabits-debut-album-communion/#comments Tue, 25 Aug 2015 20:35:53 +0000 http://www.xlr8r.com/?p=100227 After a handful of singles and EPs, Eric Burton (aka. Rabit) has announced that he will be releasing his debut album, Communion, on October 30 via Tri Angle Records.

Hailing from Houston, Rabit has found himself mixed up with producers such as Mumdance, Logos, and Janus Berlin collective—adding himself to the lineup of experimental producers that are fearlessly reinterpreting dance music. The industrial and gut-wrenching sound that emerges from Communion is notably influenced by current political issues. The emotional, heavy and transformative tones are meant to touch on concerns about “sexuality, gender, ownership of our natural bodies, societal and governmental injustices, and media manipulations.”

You can get a sneak peak of Rabit's bewildering and combative sound by streaming lead single “Pandemic” below. Be sure to check out more from Rabit and Tri Angle Records by going here.

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Premiere: Hear Roman Flugel Remix Fx Mchn's "Dünn" http://www.xlr8r.com/news/2015/08/premiere-hear-roman-flugel-remix-fx-mchns-dunn/ http://www.xlr8r.com/news/2015/08/premiere-hear-roman-flugel-remix-fx-mchns-dunn/#comments Tue, 25 Aug 2015 20:16:35 +0000 http://www.xlr8r.com/?p=100202 Mysterious UK producer Fx Mchn will land on Transit on September 7 with his latest EP, Dünn.

The four-track EP features the previously released, lo-fi-tinged title track, alongside fellow a-side track, "Piter De Vries," a chugging slice of sci-fi funk. On the flip side, Roman Flugel turns in a deep and trippy remix of "Dünn," splattered beautifully with his high-class synth work and club-ready percussion. The digital release will also feature the exclusive "Satan's Monopoly," with the vinyl limited to 300 copies.

Ahead of the September 7 release date, Roman Flugel's remix of "Dünn" can be streamed in full below.

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Vessels "Vertical (Jinjé remix)" http://www.xlr8r.com/mp3/2015/08/vessels-vertical-jinje-remix/ http://www.xlr8r.com/mp3/2015/08/vessels-vertical-jinje-remix/#comments Tue, 25 Aug 2015 19:45:39 +0000 http://www.xlr8r.com/?p=100198 Jinjé (a.k.a. Lee J Malcolm) is a founding member of experimental Leeds-based band Vessels. Lee is a skilled DJ and an established electronic solo artist with a series of releases under his Lee J Malcolm moniker for EPM Records. Next up for Jinjé is a remix of the track "Vertical" from the latest Vessels LP, Dilate. The remix starts out with a syncopated rhythm that slowly melts away as the kick drums pushes its way through the front door, leading into a house beat that scratches and hisses while also smacking you with an open-handed style nu-disco.  The original version of “Vertical” is out now via Bias, with Jinjé's remix available for free below, and you can catch Vessels on tour in the UK and EU during the rest of the year.

Vertical (Jinjé Remix)

Sat 29 Aug - Electric Fields Festival, DUMFRIES, UK
Sun 30 Aug - Shambala Festival, NORTHAMPTON, UK
Sat 5 Sep - Oslo Hackney, LONDON, UK (headline DJ set)
Mon 19 Oct - Brudenell Social Club, LEEDS, UK
Wed 21 Oct - XOYO, LONDON, UK
Thu 22 Oct - Sticky Mike’s Frog Bar, BRIGHTON, UK
Sat 24 Oct - Simple Things, BRISTOL, UK
Sun 25 Oct - Botanique, BRUSSELS, Belgium
Tue 27 Oct - Rotown, ROTTERDAM, Netherlands
Wed 28 Oct - Hafenklang, HAMBURG, Gemany
Thu 29 Oct - Werk2, LEIPZIG, Germany
Fri 30 Oct - Urban Spree, BERLIN, Germany
Sat 31 Oct - Klub Genau, COLOGNE, Germany
Sun 1 Nov - Strom, MUNICH, Germany
Thu 5 Nov - I.Boat, BORDEAUX, France
Fri 6 Nov - MIRA Festival, BARCELONA, Spain
Sat 14 Nov - Riddim Collision Festival, LYON, France
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Move D & Jordash Announce Live LP on Further Records http://www.xlr8r.com/news/2015/08/move-d-jordash-announce-live-lp-on-further-records/ http://www.xlr8r.com/news/2015/08/move-d-jordash-announce-live-lp-on-further-records/#comments Tue, 25 Aug 2015 18:44:52 +0000 http://www.xlr8r.com/?p=100190 World renowned vinyl DJ and collaborative producer Move D (a.k.a. David Moufang), and Jordan Czamanski, who is best known for his work alongside Gal Aner as Juju & Jordash, have banded together to release a recording of a live performance from Seattle, WA back in 2013.

During the middle of last year at an intimate space called 1927 Events, two-thirds of Magic Mountain High teamed up for a live performance, and the 99-minute Live In Seattle LP is the sterling result. Masters of dynamics, Moufang and Czamanski incrementally intensify and ingeniously arrange the elements, until you're in a state of panic and ecstasy.

Live In Seattle will be released on double CD and single vinyl LP. The LP features two (15 - 17 minute) excerpts from the live set chosen by David and Jordan. The double CD is the entire 99-minute set, and the recording is also available as a digital release. You can pre-order the album over at the Further Records Bandcamp, and you can preview the B-side of the vinyl right here on XLR8R

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Podcast 401: Francesco Tristano http://www.xlr8r.com/podcasts/2015/08/podcast-401-francesco-tristano/ http://www.xlr8r.com/podcasts/2015/08/podcast-401-francesco-tristano/#comments Tue, 25 Aug 2015 14:39:42 +0000 http://www.xlr8r.com/?p=100041 How do you define Francesco Tristano?  With a rich career as classical pianist, one that has seen him release several albums and perform at some of the world's finest concert halls, you might think that the Barcelona-based musician doesn’t fit too comfortably into the XLR8R mold—but to mention only his classical work would do a grave disservice to this remarkably versatile artist, who has proven to be similarly prolific with a syntheziser as with a piano.

Since discovering an infatuation with electronic sounds as a student of the prestigious Juilliard School of New York in the early 2000s, Tristano has worked closely with Agoria on his LP, The Green Armchair, and released three acclaimed solo albums on the InFiné imprint. His 2007 collaboration with Fernando Corona (a.k.a Murcof) saw the pair perform at several music festival across Europe, followed soon thereafter with his 2009 debut release with the Aufgang group and the launch of his Versus project alongside Carl Craig and Moritz von Oswald.

Coming from one of the most skilled and experimental musicians of a generation, it comes as no surprise that this week’s podcast is a little different to almost anything that has come before. Artistically speaking, it’s no easy feat to seamlessly blend the classical works of Johann Sebastian Bach with the IDM of Autechre—but that’s exactly what Tristano presents. And doesn’t it sound great?

This is what Tristano had to say about the podcast.

It's a beautiful podcast, one that clearly references to your background in both classical and electronic music. Can you talk about your choice of tracks?
I have long held the belief that ancient (hence acoustic) music shares a lot of aspects with techno. Bach arguably invented the sequence. Gregorian chant and vocal baroque music do have a touch of ambient. In this mix I wanted to show some of these con; its breakbeats are found again in the next track [Autechre "Xylin Room"] and are straightened out in the next track [Luke Vibert "Radio Savalas"] which lays down a tonal basis for the subsequential tracks—and so on. The mix is not at all about the latest hot releases, though I did include my remix of Bruce Brubaker/Philip Glass’ "Knee Play" (to be released on InFiné on October 9—along with remixes by Plaid and Akufen, among others) as well as a track from Kaito's recent instrumental (beatless) album Less Time Until The End. I did include a few of my Detroit techno classics (Carl Craig, Kenny Larkin, Detroit Escalator Co.) The mix ends with a selection from my album bachCage, John Cage’s 1948 composition "In a Landscape."

It’s obviously a very experimental podcast in that it blends these two arguably antagonistic genres. That's not an easy thing to achieve.
In 2011, Moritz von Oswald, a seminal figures in electronic music, produced my album bachCage [released on Deutsche Grammophon, containing music of Johann Sebastian Bach (born in. . . 1685!) Producer-composers like Ólafur Arnalds or Nils Frahm now enjoy a large audience ranging from the classical music lover to the raver. Techno has found its way into the concert hall, and classical music has found its way into the club. More than experimental (which to me has an undertone of uncertainty) this mix is perhaps an illustration of what is happening here and now. Electronic music as we know it today can be traced back to the 40’s and 50’s with classical composers such as Karlheinz Stockhausen, Luciano Berio and Conlon Nancarrow (among others) leading the way. They are in fact the real pioneers in electronic music. Apart from espresso and olive oil, I have never been a purist.

Did you have a particular idea behind what you wanted to achieve, or did you just head into the studio and let it go?
A DJ mix tells a story. This story is not told with a constant beat, but with a common thread of melody, harmony and tone color. The mix was recorded pretty spontaneously. I added a little post-production, mainly consisting of effect processing and compression.

How do your ideas and visions for a preparation for a podcast differ to that for a live set?
This podcast is not precisely meant to be danced to—which is what I am after when I perform live. It contains mostly music by others, whereas my live set contains only my own music. They both do show, however, who I am and the music that I make or love. I had a great time preparing this mix and hope you will enjoy it too. Peace y'all!

01 "Il Marchese di Saluzzo" (trad. 12th century)
02 Autechre "Xylin Room"(Warp, 20013)
03 Luke Vibert "Radio Savalas" (Planet Mu, 2007)
04 Charles Yves The Unanswered Question (1908)
05 Kaito "Sky Is the Limit" (Kompakt, 2014)
06 Georg Frederic Handel "Suite in D Minor for Cembalo," excerpt (performed by Glenn Gould)
07 07 Gustav Holst The Planets, excerpt (1916)
08 Maurizio "M4.5" (Basic Channel, 1995)
09 Detroit Escalator Co. "Ghana" (Peacefrog, 2001)
10 Johann Sebastian Bach Brandenburg Concerto BWV 1050, excerpt (1721)
11 Gregorio Allegri: "Miserere, excerpt (1630)
12 Carl Craig  "A Wonderful Life" (Warner, 1995)
13 Philip Glass/Bruce Brubaker "Knee Play 4" (Francesco Tristano's Knee For Thought mix) (InFiné 2015)
14 Philip Glass "Knee Play 4" (Francesco Tristano's Knee For Thought mix) (InFiné, 2015)
15 Kenny Larkin "Butterflies" (R&S, 1995)
16. John Cage "In a Landscape" (Francesco Tristano/Moritz von Oswald interpretation) (DGG, 2011)

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Floating Points Announces Debut Album http://www.xlr8r.com/news/2015/08/floating-points-announces-debut-album-elaenia/ http://www.xlr8r.com/news/2015/08/floating-points-announces-debut-album-elaenia/#comments Tue, 25 Aug 2015 14:35:00 +0000 http://www.xlr8r.com/?p=100176 Floating Points (a.k.a. Sam Shepherd) has announces his debut album Elaenia, out November 6th via Luaka Bop (US)/ Pluto (UK).

With today’'s announcement he shares a new video “"Silhouettes,"” which features music from the eleven-minute album track "“Silhouettes (I, II & III)".

Elaenia is a dazzling score which puts Shepherd in the spotlight as a composer who has produced an album that bridges the gap between his rapturous dance music and formative classical roots.

Growing up in Manchester—he started out as a chorister at an early age— Shepherd eventually arrived in London for university, where he spent the next five years engineering Elaenia, all the while DJing in cities across the globe and working towards his PhD in neuroscience. An album that draws inspiration from classical, jazz, electronic music, soul and even Brazilian popular music, Elaenia—named after the bird of the same name—is the epitome of the forward-thinking Floating Points vision in 2015.

Shepherd—the ensemblist, the producer and scientist—even built a harmonograph from scratch to create the artwork for Elaenia, the end result created by using it and two fibre optic cables of 0.5 and 1.5mm diameters, which were connected to light sources responding to bass drum and white noise percussive sounds from the album track ‘For Marmish’.

Elaenia will be released on LP, CD and digital download. All pre-orders of Elaenia via the Floating Points store will receive ‘"Silhouettes (I, II & III)"’ instantly, and the first 200 orders will receive a print of the album artwork created by the harmonograph built by Sam himself. The album can also be pre-ordered at Rough Trade and iTunes.

Ahead of the albums November 6 release, the "Silhouettes" video can be streamed below.

Tracklist:
01 Nespole
02 Silhouettes (I, II & III)
03 Argenté
04 Elaenia
05 Thin Air
06 For Marmish
07 Peroration Six

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Janet Jackson "JJ03 (MANIK 110 Workout)" http://www.xlr8r.com/mp3/2015/08/janet-jackson-jj03-manik-110-workout/ http://www.xlr8r.com/mp3/2015/08/janet-jackson-jj03-manik-110-workout/#comments Tue, 25 Aug 2015 01:14:37 +0000 http://www.xlr8r.com/?p=100155 XLR8R download man of the moment, MANIK, is back for the third of four in his Janet Jackson summer edit series. The first two placed second and first, respectively, in our top 10 downloads for the last two months, so these next two in the series have surely been anticipated. The LA-based artist slows things down for "JJ03," teasing out Jackson's vocals on top of a slow, acid chug. Later this month, MANIK will be playing his debut Boiler Room show in Berlin alongside Ellen Alien and the BPitch Recordings crew, followed by a performance at Watergate the next night. Ahead of those shows, and to keep the summer vibes flowing, MANIK has provided "JJ03" for free below.

JJ03 (MANIK 110 Workout)

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Premiere: Hear a Track From Lokane's The Eastway Project EP http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-lokanes-the-eastway-project-ep/ http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-lokanes-the-eastway-project-ep/#comments Mon, 24 Aug 2015 21:31:22 +0000 http://www.xlr8r.com/?p=100147 Fresh off his Nervous Horizon debut, London-based producer Loz Caulton (a.k.a. Lokane) will drop his The Eastway Project EP on Infinite Machine on August 28.

The Eastway Project is Caulton's debut EP-length release and consists of four gritty club workouts from the newcomer. Rooted in grime and jersey club, the EP is full of deep and dark machine-like textures, hard-hitting club-ready beats, and a whole manner of warped vocal chops.

With a fresh Boiler Room performance also under his belt, The Eastway Project looks set to firm Caulton's name as one to watch. Ahead of the full EP release on August 28—which you can preorder here—you can stream EP cut "Eastway Project" in full below. 

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Colder Announces Release of Third LP, Many Colors http://www.xlr8r.com/news/2015/08/colder-announces-release-of-third-lp-many-colors/ http://www.xlr8r.com/news/2015/08/colder-announces-release-of-third-lp-many-colors/#comments Mon, 24 Aug 2015 20:24:49 +0000 http://www.xlr8r.com/?p=100029 French producer Marc Nguyen Tan (aka. Colder) has announced the release of his third, long-awaited album, Many Colors, which is set to release on November 6 via Trevor Jackson’s tenacious music label Output Recordings.

Colder's newest album showcases his usual ominous, lush, and highly emotional trademark sound that is both unsettling and memorable. In a statement about his latest release, Tan proclaimed “this is a tale of life that does not come from this world.” Each track possesses its own piece of unique energy while Tan’s vocals constantly remain as the centerpiece of every song.

In anticipation for this release, you can hear two cuts from his forthcoming album “Midnight Fever” and “Turn Your Back” in the music videos below. Be sure to check out more music from Colder and Output Recordings by going here.

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Chaos In The CBD ft. Archie Pelago "Common Unity" http://www.xlr8r.com/mp3/2015/08/chaos-in-the-cbd-ft-archie-pelago-common-unity/ http://www.xlr8r.com/mp3/2015/08/chaos-in-the-cbd-ft-archie-pelago-common-unity/#comments Mon, 24 Aug 2015 18:05:57 +0000 http://www.xlr8r.com/?p=100074 Opening with soulful chords and a sunshine-soaked saxophone, Chaos In The CBD's Archie Pelago featured track "Common Unity" is a perfect slice of subdued house. Now based in Peckham, the New Zealand-born brothers behind Chaos In The CBD follow on from releases on ClekClekBoom, Hot Haus, and Amadeus with a four-track EP of beautiful and subtle house cuts for Bradley Zero's Rhythm Section International. Midnight In Peckham is available now and can be purchased over at the Rhythm Section Bandcamp page, with "Common Unity" available as a free download below.

Common Unity

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Native Instruments Releases Stem Creator Tool http://www.xlr8r.com/news/2015/08/native-instruments-release-stem-creator-tool/ http://www.xlr8r.com/news/2015/08/native-instruments-release-stem-creator-tool/#comments Mon, 24 Aug 2015 16:53:25 +0000 http://www.xlr8r.com/?p=100080 Today, Native Instruments released the public beta version of the Creator Tool for its Stems file format.

The Stem Creator Tool will allow users to create their own Stems. The tool available in a .zip file that contains a quick-start guide on how to create Stems, a step-by-step guide on how to create a Stems album cover, and a .psd template file to help users create their Stems cover art.

Along with the announcement, Native Instruments has released a tutorial video, which you can watch in full below. For more information, you can sign up for the Stems Creator Tool newsletter here.

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Bubblin' Up: Aparde http://www.xlr8r.com/features/2015/08/bubblin-up-aparde/ http://www.xlr8r.com/features/2015/08/bubblin-up-aparde/#comments Mon, 24 Aug 2015 14:18:17 +0000 http://www.xlr8r.com/?p=100060 Paul Schroeder is perhaps one of the most mysterious and enigmatic emerging talents in the scene. Indeed, when it comes to elusive producers, the man known to fans of otherworldly 4/4 rhythms as Aparde may be one of the most difficult to catch—and he’s not all that interested in having that change. “I like it this way,” he states with a dissimulated laugh.

The name Aparde comes from the word apathetic, a quality he regards as reflecting his own personality and temperament. “I guess you can say that I’m a guarded or introverted person,” he says, before pausing. “I think this project is like a type of mirroring of my personality.” The result: a natural choice to let his craft speak for itself. One might say his personality shines more brightly through his music, but Aparde is evidently on the right path of becoming a serious force to be reckoned with. With tracks and remixes on distinguished labels like Stil vor Talent and Traum under his belt, this is an artist whose talent is inevitably gaining traction through his music alone—a breath of fresh air in today's competitive music world.

Originally hailing from Usedom, a small island in the Baltic Sea—the very island where Christian Löffler produced his A Forest LP— he made the move to Berlin, as many others before him, to chase his dream of becoming an established music producer. Hailing from a region so surrounded by the natural elements inevitably has had a certain impact on the moody and moving qualities one can feel throughout the melancholic stylings of his productions. With his new EP, Dialogue, just released on the Keller label, XLR8R caught up with Schroeder to talk about his music and his persona.

Is nature part of the inspirations behind your music?
I guess it’s kind of an instinctive thing for me. I like being outside, I like the woods, I like the water, particularly—the beach, ocean…no matter what body of water or no matter where. But I’m not some sort of nature freak, either, who wants to be outside all the time, or who always gets energy from walking through the woods.

Can you talk a bit about your background?
I come from an island called Usedom. I left it when I was 17 and now I’ve been in Berlin for the past three years. Before Berlin I was living in Neubrandenburg, a small town, and after this I went to Potsdam just outside of Berlin for three or four years before my move here.

What was the incentive behind the move to Berlin?
It was mainly for logistical reasons. Not only did I have a lot of friends who were living here already, but also career-wise it made sense.

How long have you been producing music for?
I've been doing this electronic and techno project called Aparde for about four years, and it’s been around two or three years that I’ve been playing live with it. This electronic music I am now making, I started when I got my very first computer as a teenager. Before this I was making more ambient and trip-hop stuff, more organic stuff, without the four-to-the-floor, club atmosphere. I was also in a lot of bands prior to that. I was a trained drummer; my mother told me to play the drums when I was seven because she thought it would be good for learning and handling things, and good to stimulate the brain. Subsequently I learned to play the guitar and piano on my own. Singing was also a part of that. This latest project of Aparde has been the most successful one for me until now.

apardeThe adjectives melodic and cinematic have been used before to describe your productions. Are these terms you would use yourself to describe your own style?
Yes, definitely. I think these adjectives characterize my style quite well. It’s always somehow a bit melancholic, and with a lot of atmosphere and reverb on the elements. It also has this sort of wide atmosphere feeling. I always try to build a melancholic atmosphere with a strong and dynamic rhythm on the side, where everything can merge together somehow.

Were there any particular artists that you looked up to growing up, or look up to now?
When I was younger it was the band Deftones, and then it went over to a lot of hip-hop and trip-hop and Massive Attack and stuff like that. After that I started listening to more ambient, experimental stuff like Aphex Twin. These days Jon Hopkins is a very big thing for me, also Nils Frahm and this kind of piano, ambient and melodic stuff in general…Ólafur Arnalds and Erased Tapes Records, too. When it comes to techno, I’m a big Stephan Bodzin and Oliver Huntemann fan because these guys are real veterans. I think they both understand really well how this techno thing works and how to innovate during a live performance. Max Cooper too—everything started with Max Cooper—and Traum Schallplatten, because I was already working on some techno projects, then I received some messages directly from Max and Riley Reinhold of Traum saying they were interested in what I was doing.

"There were times I would stay up till 7am making music instead of going to school, which is why I simply decided to stop everything and really focus exclusively on the music."

So they were really the main incentive to pursue the music thing more actively?
Definitely. It was after this point a few years back that I really decided to take this project more seriously. I was in school back then, like everyone else, and I was quite good at it, but the music was what I really wanted to pursue. I was already making music all the time—before and after school and any chance I had—so naturally it made sense. There were times I would stay up till 7am making music instead of going to school, which is why I simply decided to stop everything and really focus exclusively on the music.

It’s interesting that you brought up the Max Cooper connection, because some of your tracks—“Epiphanie” comes to mind—seem to be influenced by his sound. Is he someone you look up to? And what about people like Extrawelt? There seem to be some similarities there too.
Yes, definitely. I first started making electronic music when I was 19, and the first music of that genre I ever listened to was Extrawelt…Extrawelt and Aphex Twin were the very first things.

It’s safe to say there’s not a lot of information on you out there. Is the mysterious-persona image done on purpose?
Yes. I’m aware there’s not a lot about me out there, which I think is good, it’s quite difficult to explain, even in German for me. This Aparde project is meant to be a kind of art figure, a kind of person I would like to be—but I’m not, in a sense. He was created so you could post his things on the Internet and build this whole persona around him, and also as something I could hide behind. Basically for me, I don’t like this kind of marketing stuff, and everything that comes with the job like giving interviews and all of that. I’m a quiet person, I don’t really go out with friends, and I have my own problems with that. I guess it’s a kind of mirroring this project…from my personality.

Does your name relate to that feeling?
Aparde also means being apathetic. It depends on my mood in general, but I don’t really like this kind of club thing. Coming to the club and going through the crowd with my stuff, and everyone is just there looking at you as you go through, and still have everyone looking at you while you’re playing…I don’t know. It’s just kind of strange for me, and all I want to do when I finish a show is go outside, get some fresh air and a bit of silence.

So you don’t really go out to parties here?
No, never!

How did your last release land on Stil vor Talent ? Did you know Oliver Koletzki beforehand?
I was working with Jan Blomqvist and he sent the tracks directly to Koletzki. He replied really quickly, he liked them and it was a deal. He took the tracks just as they were so I didn’t have to change anything—which for me was really good, of course. This was a great opportunity that was going to help the project reach more people. That was the main reason why I decided to release the tracks with them.

Can we talk about your process in the studio? What’s that like? Do you have ideas prepared before going in or you sit there and see what happens?
My bedroom is my studio. I guess you could say I’m a bedroom producer, but this is mainly because of financial reasons. I am finally looking for a new place with separate rooms for the studio and the bedroom. When it comes to how I work, sometimes I do have ideas already in my head, and once I start playing around I record them right away. I sit there for hours trying different things, and sometimes something comes out. I guess it’s a mixture of both. Sometimes I have the ideas in my head, or sometimes it’s just the result of me sitting there and playing around.

What about your live sets?
Actually, it’s been very difficult for me for these last couple of years to organize this kind of live set thing. I started only with  MIDI sequencer, and with the project just as it was in the program. It was very hard to manage with the CPU. The computer was too slow for it, so over the years, I decided to reduce everything to audio in order to get a more innovative style of playing. I play some elements when I feel like the crowd is liking some part; I can play it for longer or less time, I can make build-ups whenever I want to do it. It used to be very structured—I played the tracks like I produced them. But now I’ve done it so I can take some single elements out of it and mess around with them more by adding or removing things. This generally let’s me be more innovative with the live sets. Again, it’s a mixture of both, with improvisation and a bit of structure.

What's next for Aparde?
I would like to focus more on an instrumental-singing project. I sang and wrote the lyrics for the track “Cover” in the Loom EP, and I would like to do it a bit more. My friend Ryan Mathiesen helped me write the lyrics for that track, but it’s always this big battle with myself—my ego and self confidence or rather self-doubts seem to get in the way. I’m very self-critical.

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Randomer Preps New EP for L.I.E.S. http://www.xlr8r.com/news/2015/08/randomer-preps-new-ep-for-l-i-e-s/ http://www.xlr8r.com/news/2015/08/randomer-preps-new-ep-for-l-i-e-s/#comments Mon, 24 Aug 2015 10:46:06 +0000 http://www.xlr8r.com/?p=100101 Randomer (a.k.a. Rohan Walder) will return to L.I.E.S. next month with a new EP, Kid's Play. The UK techno producer and onetime XLR8R podcast contributor dropped EPs on Clone Basement Series and L.I.E.S. proper last year, in addition to one on L.I.E.S. sublabel Russian Torrent Versions. The label reports that on his upcoming five-tracker, Walder "went in and dug up some percussive nastiness and got all dynamic with it, dropping in and dropping out [with] heavy kicks and bells." Kid's Play sees an official release on September 28; previews are available here via Rush Hour, and the EP's complete tracklist can be found below. (via Resident Advisor)

01. Kid’s Play
02. Juju
03. Bell Jam
04. Brutus
05. Dem Thing

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2AM/FM 2AM/FM http://www.xlr8r.com/reviews/2015/08/2amfm-2amfm/ http://www.xlr8r.com/reviews/2015/08/2amfm-2amfm/#comments Sun, 23 Aug 2015 18:31:23 +0000 http://www.xlr8r.com/?p=100054 D’marc Cantu and Tadd Mullinix's 2AM/FM collaboration has never had a clear trajectory. From Mullinix's offbeat hip-hop project Dabrye and his acid and techno releases under a plethora of aliases to Cantu’s potpourri of club music, the Ann Arbor residents are known for their constant state of flux. Now, after over a decade of collaboration, 2 AM/FM are releasing their self-titled debut LP on Mullinix's new label Bopside Records, with little regard for any of the sounds they’ve become known for.

Caught between the sounds of Chicago and Detroit, 2AM/FM’s hometown of Ann Arbor is both Cantu and Mullinix's physical base and sonic inspiration. Complicating the expected 4/4 patterns with loose, fluttering analog drums, the album favors ebb-and-flow progressions over tour de force jacking intensity; rolling grooves and spacey synths give way to chimes and waterlogged drum programming. The record never feels empty or boring, but a newfound emphasis on spacing and translucency gives their sound a meditative quality.

Only at one point does 2 AM/FM revert to their old ways: The acidic creep of "Excuse Me Miss" feels a bit out of place with the rest of the tracks, but it is consistent with fact that the record comes from Cantu and Mullinix. They can jump from off-beat drums and stony pianos to acid mayhem with no regard—and even when they’re not being consistent, they’re consistently being themselves.

The duo's willingness to depart from previous sounds, of course, is what warrants an album rather than a series of singles, and this release serves as a statement about 2 AM/FM. Never forgetting about their roots, they’re carving out another sound for themselves and Ann Arbor: a pair of longtime musical transients, finding yet another stride.

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Photo Diary: Jonas Rathsman Goes to Palm Springs http://www.xlr8r.com/features/2015/08/photo-diary-jonas-rathsman-goes-to-palm-springs/ http://www.xlr8r.com/features/2015/08/photo-diary-jonas-rathsman-goes-to-palm-springs/#comments Sun, 23 Aug 2015 14:00:12 +0000 http://www.xlr8r.com/?p=99748 Would Sweden's Jonas Rathsman have made it to where he is today without the blessing of dance music's best-known tastemaker? Well, yes—chances are the Swedish DJ-producer would have done just fine without the imprimatur of Pete Tong, who pegged the erstwhile member of the Stuffa duo as a "Future Star" in 2013, and who handed the reins of an Essential Mix to Rathsman and fellow French Express artist Perseus the following year. After all, Rathsman makes gorgeous music—his hazy tracks are full of subtle, graceful swoops and swoons, punctuated by moments of soaring grandeur and accented by flashes of surprising toughness. But then again, it probably didn't hurt, either: He did score a clubland-conquering tune with "Wolfsbane," released this past spring on the Method White label, and he's just reworked Disclosure's "Omen," featuring Sam Smith on vocals. (Hey, if you're gonna listen to Sam Smith, you could do far worse than a smoky, dramatic Rathsman remix.) Rathman's just finished up a North American mini-tour, with a stop at Palm Springs, California's Splash House fest on August 9; below, find a short photo diary of the excursion.

1. Insert cliché-DJ-comment-on-airports here! I am actually starting to love these places.…

Jonas Rathsman 1 -airport

2. Day three in to this U.S. run, coffee is definitely my best friend right now.

2 Jonas Rathsman coffee time

3. Shout-out to Mela and Mohamed for picking me up! These guys came all the way from Sweden to see play— legends. It took us a few minutes to work out this parking meter—but we got there in the end.

Jonas Rathsman parking meter

4. Some much needed pool time! Could have stayed here all day.

Jonas Rathsman  4 - pool_life

5. Last minute set prep before we go to dinner!

Jonas Rathsman 5 - hotel_2

6. Dinner set me up perfectly! Pizza and Californian wine—good times.

Jonas Rathsman  6 - dinner

7. Post-dinner photo-booth action

Jonas Rathsman  7 - photo_booth

8. When I arrived at Splash House, I headed upstairs to get a look from above—I was definitely excited when I saw this!

Jonas Rathsman  8 - first_look_splash

Photo: Jamie Rosenberg

9. One of my oldest friends, Mohamed—still can’t believe they came from Sweden to see me. Love you buddy!

Jonas Rathsman  9 - mo

Photo: Jamie Rosenberg

10. Always enjoy meeting up with Ben Pearce! Always ends badly. He is a bad influence!

Jonas Rathsman 10 - pearce

Photo: Jamie Rosenberg

11. Great crowd! Big thanks to everyone for the awesome party.

Jonas Rathsman 12 - spalsh

Photo: Jamie Rosenberg

Jonas Rathsman 11 - crowd

Photo: Jamie Rosenberg

13. The morning after… f**k, that escalated quickly. Needed this breakfast before the last minute dash to the airport!

Jonas Rathsman  - tired_breakfast

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Premiere: Hear a Retrospective Mix From Dixon Avenue Basement Jams http://www.xlr8r.com/news/2015/08/premiere-hear-a-retrospective-mix-from-dixon-avenue-basement-jams/ http://www.xlr8r.com/news/2015/08/premiere-hear-a-retrospective-mix-from-dixon-avenue-basement-jams/#comments Fri, 21 Aug 2015 19:19:46 +0000 http://www.xlr8r.com/?p=100038 Glasgow-based imprint Dixon Avenue Basement Jams will be releasing its full catalogue digitally from September 4.

Founded in 2012 by label heads Dan Monox and The Wasp, its grown to be recognised as one of the most consistent and exciting labels in house and techno. Favoring a quality of quantity approach, the label has released brilliant dancefloor-focused cuts from underground stalwarts such as Marquis Hawkes, Denis Sulta, Modini, and Jared Wilson, bringing "real rockin’ raw shit from the street for the clubs".

Now 15 releases deep, the label has put together a retrospective mix of some of its favorite label cuts to celebrate the upcoming digital release of the full back catalogue. Gritty, groovy, and raw, it's a perfect summation of one of house and techno's best underground imprints, and is streaming in full below.

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Premiere: Stream a Track from Tommy Four Seven's New Various Artists EP http://www.xlr8r.com/news/2015/08/premiere-stream-track-from-tommy-four-sevens-new-various-artists-ep/ http://www.xlr8r.com/news/2015/08/premiere-stream-track-from-tommy-four-sevens-new-various-artists-ep/#comments Fri, 21 Aug 2015 17:42:29 +0000 http://www.xlr8r.com/?p=100046 Tommy Four Seven has announced the latest release in his series of EPs that feature guests from his new regular event, 47. Keeping the focus on the floor, each release will include four original tracks, including one by Tommy himself.

The 47002 EP features tracks from AnD, P.E.A.R.L. and J. Tijn, and is scheduled for September 7 release via Tommy's 47 imprint.

Ahead of the EP's September 7 release, Tommy Four Seven's "X9" track from can be streamed in full below.

Tracklist:

A1 Tommy Four Seven - X9
A2 P.E.A.R.L. - Vortex
B1 AnD - Valid Point
B2 J. Tijn - Mr Mime

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Mattlack "43a" http://www.xlr8r.com/mp3/2015/08/mattlack-43a/ http://www.xlr8r.com/mp3/2015/08/mattlack-43a/#comments Fri, 21 Aug 2015 16:27:54 +0000 http://www.xlr8r.com/?p=100034 Collect-Call is an apartment-run vinyl/tape label based out of Montreal. At the start of the month, the Canadian imprint released Mattlack's L.I.F cassette album, an analog-driven collection of left-field house jams. Spread across nine tracks, the album traverses through minimalistic drum workouts, gritty and textural long-form journeys, and other raw oddities, all stamped with Mattlack's machine work. Opening the album perfectly is "43a," a deep and delicate cut that features gorgeous swaying pads, muted, drum-machine percussion, and an STL-like dubby swagger. Mattlack and Collect-Call have offered up "43a" as a free download below, with the full album available over at the Collect-Call Bandcamp page.

43a

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Mistress Recordings Announces EP From ASOK http://www.xlr8r.com/news/2015/08/mistress-recordings-announces-ep-from-asok/ http://www.xlr8r.com/news/2015/08/mistress-recordings-announces-ep-from-asok/#comments Fri, 21 Aug 2015 15:30:35 +0000 http://www.xlr8r.com/?p=99995 Liverpool-based DJ and producer Stu Robinson (a.k.a. ASOK) returns to DVS1's Mistress Recordings with his Count Zero EP.

Following on from his storming cut "Purple Saturn Day," which appeared on Mistress 5.1 (The Blonde EP), Count Zero finds Robinson continuing his live-synth workouts with four cuts taking in swinging, sample-heavy grooves, deep and dubby acid journeys, and trippy, intergalactic synth funk; all echoing his free-flowing production mindset: "The only plan I ever really have when I sit down making stuff is to not have a plan. I’ve tried the plan thing in the past and it never goes to plan, so no plan is the plan. I try to tie things together with technique and vibe rather than making tracks like a jigsaw puzzle."

Count Zero will be released towards the end of next month.

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Veteran Label Compost Records Celebrates 20 Years with Book Release http://www.xlr8r.com/news/2015/08/veteran-label-compost-records-celebrates-20-years-with-book-release/ http://www.xlr8r.com/news/2015/08/veteran-label-compost-records-celebrates-20-years-with-book-release/#comments Fri, 21 Aug 2015 12:44:59 +0000 http://www.xlr8r.com/?p=99896 Founded in October of 1994, Compost Records has been paramount in helping underground electronic music excel on a global scale. Celebrating its 20th anniversary, the label has created a 300 page tribute to its many successes that includes a download code with unreleased tracks, hidden gems, and secret weapons that any electronic music enthusiast is bound to enjoy.

Printed in both English and German, the book contains more than 450 pictures, cover artwork, flyers, memorabilia, anecdotes, interviews, and testimonials from over sixty artists, remixers and friends of the label. These artists include Laurent Garnier, Gerd Janson, Danny Krivit, Hans Nieswandt, Giles Peterson, Fat Freddy’s Drop, and many more.

By purchasing this unique and beautifully compiled book, you will receive music from the likes of Todd Terje, John Talbot, Carl Craig, and other fantastic artists that you can check out in the tracklist below. To purchase the book, you can head to the Compost website here.

Compost-3 Kopie

Tracklist:

Freshly Composted (Unreleased/Brand New):

  1. Siren - A/Way (Radio Edit)
  2. Bar - White Noise (Shahrokh Dini Remix)
  3. Compost Allstars feat. Robert Owens - Good Day
  4. Indoor Life - Archeology (Mathias Schaffhäuser Club Mix)
  5. Robinn - Duillac (Bedroom Version)
  6. Pawas & Schaffhäuser - Hunt (Rhodes Jam feat. Gregor Schwellenbach)
  7. Marbert Rocel - I Wish I Knew
  8. Felix Laband - Getting Old
  9. SHOW-B - My Contribution (20 Years Mix)
  10. Claudio Ricci & Megablast feat. OG Spiritual Gode - Chyedza
  11. DJ Yellow & Flowers And Sea Creatures - Deep Into Neon (Mark E Remix)
  12. Emilie Nana - I'm Childish, So What!
  13. Marbert Rocel - I Don't Know (Rupert & Mennert's Weird Pigs Remix)

Some Michael Reinboth Favorites:

  1. John Gazoo - What Happened (Vocal)
  2. Les Gammas - See The Sun
  3. Zwicker - Oddity (John Talabot Dub)
  4. Madpac - Angry Nerds (Philipp Stoya Remix)
  5. Jay Shepheard - Pipes 'N' Sneakers
  6. General Elektriks - Facing That Void (Beanfield Remix)
  7. Felix Laband - Whistling In Tongues (Todd Terje Remix)
  8. Ennio Morricone - Amore Come Dolore (Needs Remix)
  9. Beanfield feat. Bajka - Tides (Carl Craig Remix)
  10. Moonstarr - Greed (Moonstarr Remix)
  11. Trüby Trio - Universal Love (Âme Rootdown Round Midnite Mix)
  12. A Forest Mighty Black - Rebirth
  13. Native Force - Rain

Hidden Compost Gems:

  1. Family Tree - Hang On To Your Pride
  2. Beanfield - Freund Clone
  3. Christian Prommer - Where You Gonna Go feat. Kim Sanders
  4. Blimp - 4:30:00 – 4:45:15 AM
  5. Zwicker - I Got My Kicks At Nighttime (Lexx Dub)
  6. Robinn - The Game Is Now Over (Cocolores Dub Mix)
  7. Move D - Hurt Me
  8. Jean-Paul Bondy - Cold Reformer (John Tejada Remix)
  9. Trüby Trio - Galicia (Zero dB Remix)
  10. MCD - Dadawo
  11. Phreek Plus One - Bikini
  12. Wei-Chi - Faces And Places (Henrik Schwarz Remix)
  13. Lukas Bohlender - Club Château
  14. 14. Quintus Project - Night Flight (Psychemagik Remix)
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The Lowdown: This Week's Top Posts with Anja Schneider, Heathered Pearls, and Our Top Ten Downloads of July http://www.xlr8r.com/news/2015/08/the-lowdown-this-weeks-top-posts-with-anja-schneider-heathered-pearls-and-our-top-ten-downloads-of-july/ http://www.xlr8r.com/news/2015/08/the-lowdown-this-weeks-top-posts-with-anja-schneider-heathered-pearls-and-our-top-ten-downloads-of-july/#comments Fri, 21 Aug 2015 12:00:46 +0000 http://www.xlr8r.com/?p=99985 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 a weekly email newsletter.

Podcast 400 - Anja Schneider:
XLR8R marks a milestone with the mistress of Mobilee.

Event Review - Low End Theory Festival:
The beats-and-bass brigade descend upon LA's Shrine Auditorium.

XLR8R's Top 10 Downloads of July:
Check out the 10 most popular tracks to hit our Downloads section last month.

Nils Frahm and Ólafur Arnalds Surprise Fans with New Collaboration:
The latest project is due out August 21 on London based label Erased Tapes Records.

Marcel Dettmann, Function, and Vril to Headline XLR8R After-Hours Party at Decibel Festival:
The party will take place on Friday, September 25 as part of the Decibel 2015 program.

Summer Rain - Eight Things We Learned at DGTL Festival:
We dry ourselves off and collect our abiding impressions of the first edition of Barcelona's DGTL Festival.

Q&A - Siren's Darshan Jesrani and Dennis Kane:
The longtime friends team up to produce sweeping and sophisticated music.

Music Review - Spatial Emergence #1 EP:
Matt Spendlove revives his Infrasonics label for the first installment of a space-bass trilogy.

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Marco Resmann Run EP http://www.xlr8r.com/reviews/2015/08/marco-resmann-run-ep/ http://www.xlr8r.com/reviews/2015/08/marco-resmann-run-ep/#comments Fri, 21 Aug 2015 12:00:25 +0000 http://www.xlr8r.com/?p=100009 Berlin's trademark sound, a blend of house groove and techno integrity, is rich in technical intricacies and sonic finesse—and the Watergate club has always upheld its part. Its affiliated label has as well, through a string of quality EPs from the likes of Henrik Schwarz, Jesse Rose, and Maceo Plex. Now, Marco Resmann returns to the imprint with another set of silken-smooth dance timbres—and he's given us a set of bottom-heavy, warm techno rollers that are fine-tuned for the peak play, and rooted in deeply grounded aesthetics and classic house structures.

Though laying behind a muted bassline, the slow-burning title track's emotionally loaded sound brims with energy as it progresses, with effects and oscillations gradually feeding in before the track's delicate, glassy melody takes center stage on the break. On "Hello Again," Resmann shows his prowess behind the boards: A sonic palette of field recordings gradually unfolds into synthesized electronics, with chirping birds and gusts of wind overtaken by a wild electronic groove. Thundering, mechanistic beats, radiating acid-drop basslines and sub-loaded top lines create a heady, apocalyptic aesthetic that feels like a stark warning in comparison to its calmer start point.

Closing track "Es Vedra" takes the emotive vibe of "Hello Again" to new corners of the soul; it's a cosmic, late-night excursion defined by minor tonal chords, soft pads and pulsing synths. A soft and soothing groove develops atop a starched, marching beat, before radiating basslines seep through the intoxicating rhythm. Resmann's reputation for integrity and soul is in no danger of ruin on Run, as he combines a left-field sound with house music's classic formula.

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AUS Music Preps EP From Timothy Blake http://www.xlr8r.com/news/2015/08/aus-music-preps-ep-from-timothy-blake/ http://www.xlr8r.com/news/2015/08/aus-music-preps-ep-from-timothy-blake/#comments Fri, 21 Aug 2015 11:00:57 +0000 http://www.xlr8r.com/?p=99982 AUS Music's newest signing, Timothy Blake, will drop his The Stormy Search EP on the UK label next month.

The Dublin-born, Berlin-based artist follows up releases on Dirt Crew, Fatty Fatty Phonographics, and Kleine Reise with three funk-filled, sun-drenched house cuts that land backed by a remix from Marquis Hawkes—who turns his deft touch to the EP's title cut, adding driving percussion and his signature rawness to the soon-to-be summer classic.

The Stormy Search will be out September 18 via AUS Music.

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Stream a Track from the Upcoming Moiré EP http://www.xlr8r.com/news/2015/08/stream-new-track-from-upcoming-moire-ep/ http://www.xlr8r.com/news/2015/08/stream-new-track-from-upcoming-moire-ep/#comments Fri, 21 Aug 2015 08:30:32 +0000 http://www.xlr8r.com/?p=99920 London-based producer Moiré has teamed up with R&S Records to present his newest EP, Gel, which will be available for purchase on October 9.

Having previously released most of his music through Actress’ Werkdiscs imprint, Moiré stepping up to work with R&S Records only seems appropriate. Both labels demonstrate a knack for catering to artists whose sounds are experimental in nature, but that still have a place on the dancefloor. The delirious pace of EP cut “STFN” features sincerely futuristic attributes, with sluggish arpeggios and crumbling patterns ricocheting throughout the track. Needless to say, Moiré continues to impress with his mind-bending sound that delivers an unparalleled ambiance to our dancefloors, car stereos, and headphones.

You can stream “STFN” below and be sure to check out more from Moiré on his soundcloud page and the R&S Records website here.

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Watch a New Video From DJ Dodger Stadium http://www.xlr8r.com/news/2015/08/watch-a-new-video-from-dj-dodger-stadium/ http://www.xlr8r.com/news/2015/08/watch-a-new-video-from-dj-dodger-stadium/#comments Fri, 21 Aug 2015 00:49:38 +0000 http://www.xlr8r.com/?p=99966 DJ Dodger Stadium recently dropped a new video for its single "You Don't Have To Be Alone" on the LA-based party and record label Body High.

DJDS (a.k.a. Samo Sound Boy and Jerome LOL) will be performing tomorrow night at The Standard Hotel in Downtown LA as part of a FYF kick-off party. The lineup will also include performances by Todd Edwards and Joaquin Bartra. Tickets to this event can be found here, with the video for "You Don't Have To Be Alone" streaming in full below.

Directors: Daniel Pappas and Nick Walker
Producer: Corey Whitted
Director of Photogoraphy: Deering Regan
Editors: Tyler Ross and Jerome Potter
Colorist: Brandon Chavez
Wrangler: Second Hand Souls Animal Rescue

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Dan Mela & Lady Blacktronika "Drive Me Crazy (Dope Mix)" http://www.xlr8r.com/mp3/2015/08/dan-mela-lady-blacktronika-drive-me-crazy-dope-mix/ http://www.xlr8r.com/mp3/2015/08/dan-mela-lady-blacktronika-drive-me-crazy-dope-mix/#comments Fri, 21 Aug 2015 00:41:16 +0000 http://www.xlr8r.com/?p=99903 The versatile and seasoned DJ/Producer Dan Mela further demonstrates his musical expertise with the release of his newest EP, Drive Me Crazy. Released through his own imprint, What Ever Not, Mela recruited the help of Lady Blacktronica, true deep house legend, to provide some genuinely stunning and classic sounding vocals for the EP. The coupling of these two adept musicians is a match made in heaven, bringing a serious old school Detroit sound to the production. Using vintage synth drones to pilot the track, "Drive Me Crazy (Dope Mix)" is peppered with Chicago house piano chords and features a profusion of busy percussion and drum patterns. In addition to this, Lady Blacktronica’s vocals are simply sublime and bring the old-school house feel of the track to the forefront. You can download "Drive Me Crazy (Dope Mix)" for free below, and check out the rest of the Dan Mela & Lady Blacktronika Drive Me Crazy EP here.

Drive Me Crazy (Dope_Mix)

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Premiere: Hear Adam Shelton's The Shining Path EP in Full http://www.xlr8r.com/news/2015/08/premiere-hear-adam-sheltons-the-shining-path-ep-in-full/ http://www.xlr8r.com/news/2015/08/premiere-hear-adam-sheltons-the-shining-path-ep-in-full/#comments Thu, 20 Aug 2015 23:18:44 +0000 http://www.xlr8r.com/?p=99975 Adam Shelton's latest EP, The Shining Path, will land on the label he co-founded, One Records, next week.

The release will be his first all-solo outing on the label, with three tracks of brilliant club fanfare. Wobbly, driving acid lines run wild on top of chunky, floor-shaking low ends and slicing percussion, making for a collection of club-focused cuts that would fit nicely into any house DJs bag.

With the release of The Shining Path, and label showcases at Fabric, Watergate, and El Row, 2015 is proving to be a stellar year for one of house music's mainstay labels. You can stream all three cuts from The Shining Path exclusively below, with the EP available here on August 24.

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Marcel Dettmann, Function, and Vril to Headline XLR8R After-Hours Party at Decibel Festival http://www.xlr8r.com/news/2015/08/marcel-dettmann-function-and-vril-to-headline-xlr8r-after-hours-party-at-decibel-festival/ http://www.xlr8r.com/news/2015/08/marcel-dettmann-function-and-vril-to-headline-xlr8r-after-hours-party-at-decibel-festival/#comments Thu, 20 Aug 2015 21:43:40 +0000 http://www.xlr8r.com/?p=99893 Founded in 2003, Decibel Festival has become a unique platform for exposing attendees to leading-edge multimedia art from around the globe. XLR8R has a long running history of presenting panels and organizing showcases with Decibel during its five day event in Seattle. In the past, XLR8R has hosted artists such as Nosaj Thing, Vessel, and Teengirl Fantasy, and together we have produced co-branded XLR8R/Decibel podcasts from artists including Max Cooper, John Tejada, and Function.

This year, we are proud to present the Official dB After-Hours II party on Friday, September 25. The party will take place at Q Nightclub, and will be headlined by XLR8R favorites Marcel Dettmann, Function (live), and Vril (live). The party is free with a Decibel 2015 festival pass, and you can grab pre-sale tickets right now on the Decibel website.

XLR8R will also be hosting a panel at Decibel that will land on XLR8R TV with the help of CreativeLive, the free online learning website. The panel will take place on the same Friday as our after-hours party, and the panel will include music labels and other media outlets leading a discussion on how artists can work with media to get their music heard. Pre-sale tickets for our party and for Decibel 2015 are on sale now.

22$ presale: bit.ly/dB2015AfterHours2Tix
Decibel 2015 Pass: http://bit.ly/dB2015Tickets

dbafterhours_adfinal

db2015-2ndlineup-facebook

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Summer Rain: Eight Things We Learned at DGTL Festival http://www.xlr8r.com/features/2015/08/summer-rain-eight-things-we-learned-at-dgtl-festival/ http://www.xlr8r.com/features/2015/08/summer-rain-eight-things-we-learned-at-dgtl-festival/#comments Thu, 20 Aug 2015 21:35:13 +0000 http://www.xlr8r.com/?p=99878 Last weekend, XLR8R made the journey to one of our favorite cities, Barcelona, to attend the first edition of a new house and techno festival called DGTL. Taking place at the Parc del Forum venue also used by the longstanding Primavera Sound festival, DGTL has clearly been set up to fill what has always been a surprising void in Barcelona's summer. From late May to mid-July the city crackles with activity as Primavera Sound, Sonar, and fabulous weather magnetically attract artists and fans alike to the Catalan capital. But August—a month in which Catalans vacate the city in their droves, and many shops and businesses close down for the whole month—has traditionally been pretty much musical dead time in Barcelona, with underwhelming club and gig lineups and a total lack of electronic festivals. The advent of the now-weekly Piknic Electronik event on Montjuic began to address that in the last few years, and over the last two summers that's been joined by a smattering of one-day events at the stunning El Monasterio venue within the El Poble Espanyol architectural museum.

DGTL looks to be the most serious effort yet to provide the city with something big to look forward to in August, however—and from what I saw last weekend, it has the potential to grow into a cherished yearly institution in its own right. The first edition took place over three stages and featured a reasonably straightforward lineup of crowd-pleasing big-hitters (Dixon, John Talabot, Ben Klock, Maceo Plex, Henrik Schwarz), alongside locals such as Paco Osuna and DJ Fra and the odd (relative) curveball in the shape of Boddika and Pearson Sound. The festival was largely a success despite some bizarrely inclement weather, and below are eight of the strongest impressions I took away from the weekend.

The previous experience of DGTL's team ensured a remarkably smooth first edition for the festival.
The first editions of festivals can be shaky affairs in lots of ways, the promoters thrust into the organizational deep end with inevitable negative results. DGTL was different because the people behind it already have a ton of experience of putting on festivals and events in their native Netherlands, and clearly know what they're doing as a result. In pretty much every way (they couldn't control the weather, so we'll let them off with Saturday's downpour), DGTL ran smoothly, from the queue-free cashless bars and good food options to the provision of a covered stage during the worst of the rain on Saturday night. Aesthetically, the festival also seemed to have hit the ground running, with use of hulking shipping containers, interesting overhead meshing features and some amazing wire sculptures leaving the impression of a festival with an already-complete identity, and its strong recycling ethos went down well in a city with an increasingly strong recycling ethos of its own. It never hurts to send customers away satisfied from the get-go, and DGTL largely managed to do that.

Photo: Kirsten van Santen

Photo: Tom Doms

Parc del Forum can work on a scaled-back basis.
In the form in which it is used for Primavera Sound, the Parc del Forum venue is a sprawling outdoor area taking in a dozen or so stages and a potential ten or 15 minutes' walk from one end of the site to the other. DGTL's use of the area was unsurprisingly far more scaled-back, taking in three stages and no more than two minutes' walk in what Primavera attendees will know as that festival's central hub. While it felt a little strange not to be able to stride off towards Primavera's waterfront Pitchfork Stage, or the much-loved, bowl-like Ray-Ban Stage, DGTL's use of the area was economical and logical. Unlike Primavera, DGTL also positioned a stage underneath Parc del Forum's iconic slanting "roof" feature. Approaching this stage occasionally revealed the echo-related reasons why Primavera avoids placing a stage there, but once you were safely underneath the roof it worked fine, and afforde lovely views out over the Mediterranean. Assuming DGTL intends ultimately to grow into a larger-scale enterprise, it should be able to utilize greater areas of Parc del Forum as it grows, making it a canny as well as visually striking choice of venue.

Ryan Elliott Photo: Kirsten van Santen

Ryan Elliott
Photo: Tom Doms

DJ Koze's “XTC” is one of the year's biggest gifts to DJs.
When it came out in June, it was instantly obvious that "XTC" would be one of the year's standout tunes, but its bubblebath-like shimmer seemed too meditative to make as strong an impression on the dance floor as it does while blissing out on the couch. That was before the cream of Europe's DJs got to work on it, however. This summer I've seen several turn out their own slightly higher-caffeine mixes or edits of the track (Move D's euphoric use of it springs particularly to mind) and each and every time it's been a nailed-on set highlight. So it was with Dixon, who dropped it mid-set on Saturday night, adding a simple extra layer of propulsion to the track's percussive bed, and letting its beautiful chords and tranquilized female spoken-word vocal do the rest. Two months after its release, "XTC" is also now at a level of exposure where a good section of any given crowd is likely to be able to "sing along" when it crops up. The sight of hundreds of people intoning its hypnotic words ("I heard you say once that a lie is sweet in the beginning and bitter in the end, and truth is bitter in the beginning, and sweet in the end. I have been meditating, but I don't have the experiences people report from the drug ecstasy. Is the drug like the lie, and meditation the truth? Or am I missing something that could really help me?") while dancing for joy has to rank as one of the year's more lovely, not to mention bizarre, sights.

Photo: Kirsten van Santen

Photo: Tom Doms

Radio Slave and Thomas Gandey's remix of Aphrohead's “Let's Prance" repeatedly did excellent business.
If "XTC" provided the weekend's most beautiful moment, then Radio Slave and Thomas Gandey's remix of Aphrohead's “Let's Prance" was the track that most commonly got people moving. I heard it played on three separate occasions over the two nights—by Klock, Dixon and an unidentified third DJ—and every time its pounding low-end, flickering piano and wonderfully silly vocal instruction (delivered with perfect, dread-soaked seriousness) did all kinds of damage.

TD-20150815-DGTL_Barca-016-6008

Photo: Tom Doms

John Talabot was a major highlight, as always.
To say Talabot and Barcelona go together is facile—his talents make him a natural and celebrated presence wherever he goes, not just in his home city. It's always a delight to see him on home turf, however, and once I got over the early devastation of realizing that his Saturday-night show would not be one of the breathtaking disco-only sets that have lit up the last two editions of Primavera Sound, I was able to settle in happily for a typically brilliant two-hour set. Winding, EBM-tinged fare such as Dimitris Kalfas' remix of Gil Berg's "Marine 9" and Nina Kraviz's "Desire" ruled its early stages, and as the weather improved he lightened things a shade with the euphoric, elastic piano chords of Hbng's "Planet Sunday." He didn't put a foot wrong all evening (when does he ever?), and a massive main-stage crowd lapped up every second.

Photo: Kirsten van Santen

Photo: Tom Doms

DGTL was unlucky when it came to the weather, but nobody seemed to mind too much.
"DGTL travels to always-sunny Barcelona for a two-day edition of festival goodness," ran the understandably confident pre-event blurb on DGTL's website. I no longer live in Barcelona, but friends who are still resident there assure me that this has been the hottest and driest summer they can remember, making the heavy rains that beset DGTL on its second night a particularly unlucky break. The festival was well-prepared, however, providing thousands of free ponchos and a covered stage on the second night that ensured a packed captive audience for Ryan Elliott's loose-limbed set of sax-laden house and disco. It would be wrong to say the rains didn't affect the mood at all—the wave of relief when they abated, and finally disappeared entirely, during John Talabot and Dixon's closing main-stage sets was palpable—but most seemed willing to get on with enjoying the night as best they could. The sunset that the conditions created, which bathed the site and city in an extraordinary deep-orange glow for around ten minutes, was also a serious compensation, and not only to those with Instagram profiles to update. Unless DGTL has accidentally set up its offices on the site of an ancient Indian burial ground, then future editions of the festival are bound to be a lot more sun-kissed.

DGTL festival sunset

Photo: Tom Doms

Ben Klock was as reliable—and versatile—as ever.
Ben Klock's festival schedule and my own intersect with such unerring regularity that I sometimes feel as if I'm stalking him around Europe. His ability to precisely tailor his sets to the needs of each separate audience means these repeated viewings of the Berghain resident at work never get boring, though, and his show at DGTL was no exception. There was a relatively maximalist levity to a lot of Klock's selections on this occasion, with the jackhammers only broken out in the closing stages of his Friday-night set. Ending with DJ Deeon's "Freak Like Me" was a nice touch as well, and another acknowledgment that this was an outdoor summer festival in Barcelona rather than a dark room in Berlin.

Photo: Kirsten van Santen

Photo: Tom Doms

There is a definite appetite for events like this in Barcelona in August.
DGTL's first Barcelona edition, while suffering a little from the weather, was generally a success, but then that should be no surprise at all to anyone who has been to the city in recent years. While there still may be a strong local element that leaves the city during August, Barcelona is brim-full with residents from other nations, and indeed a lot of young Catalan and Spanish people, for whom the tradition of taking off for the whole of August is a slightly baffling curiosity. Few people come to live in Barcelona for a quiet life, so it follows that any event of this sort, if properly organized and engagingly programmed, should be as resounding a success in August as in any other month. On the evidence of its first edition, there's no reason why DGTL can't fill the void.

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Esa "Africa Ni Leo (Behr Remix)" http://www.xlr8r.com/mp3/2015/08/esa-afrika-ni-leo-behr-remix/ http://www.xlr8r.com/mp3/2015/08/esa-afrika-ni-leo-behr-remix/#comments Thu, 20 Aug 2015 17:04:33 +0000 http://www.xlr8r.com/?p=99887 Huntleys + Palmers Highlife World Series is a three part music series headed up by UK-based Auntie Flo and Esa. Beginning with Cuba, followed by Kenya, and now finishing on the one in question here, Uganda, the Highlife World Series is a collaborative effort with a focus to share emerging sounds and ideas. Pulled from the Uganda release is Johannesburg-based, South African multi-instrumentalist Behr's remix of "Africa Ni Leo"—translated as 'Africa Is Today,' and a response to the patronizing trope that 'Africa is the future.' Beautifully haunting in its delivery, "Africa Ni Leo" trudges along with an abundance of groove-filled instrumentation and swirling vocal lines, with Behr injecting a chunky, acidic bassline as the glue of the track. Behr's philosophy encompasses the idea that music is within all, a medium and outlet for ones expression. You can donwload his remix of "Africa Ni Leo" for free below, with more information on the Highlife World Series available here.

Afrika Ni Leo (Behr Remix)

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