XLR8R http://www.xlr8r.com Accelerating music & culture Wed, 15 Apr 2015 23:27:44 +0000 en-US hourly 1 http://wordpress.org/?v=4.0 Akai Professional Launches the MIDImix http://www.xlr8r.com/news/2015/04/akai-professional-launches-the-midimix/ http://www.xlr8r.com/news/2015/04/akai-professional-launches-the-midimix/#comments Wed, 15 Apr 2015 15:57:32 +0000 http://www.xlr8r.com/?p=89841 The MIDImix is a compact high-performance mixer that has the ability to control virtually any Digital Audio Workstation (DAW) with the press of a single button. The unit features eight individual line faders, each with three performance knobs, and two buttons for arming, recording, and muting the channel, as well as a master fader. It aims to give musicians an unparalleled, portable mixing solution for their projects.

The Akai Professional MIDImix will be available in June for $99.99

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10 Reasons We Loved Amsterdam's DGTL Festival http://www.xlr8r.com/features/2015/04/10-reasons-we-loved-amsterdams-dgtl-festival/ http://www.xlr8r.com/features/2015/04/10-reasons-we-loved-amsterdams-dgtl-festival/#comments Wed, 15 Apr 2015 15:56:19 +0000 http://www.xlr8r.com/?p=89785 If there’s one thing that can be said about the Netherlands, it's this: Dutch people really know how to party. And importantly, they understand how to put on a party properly.

Easter weekend saw the great and good of clued-up electronic enthusiasts descend on an abandoned shipyard in north Amsterdam for the country’s first festival of 2015, and things went off with a bang. Spanning Saturday and Sunday, with after-parties each day and a smaller opening bash on Friday night, DGTL was serious about music, production, sustainability, and dystopian aesthetics; at times it felt like Escape From New York: The Rave Cut. We went, saw, heard, enjoyed, and—until a disgustingly early flight home on Monday morning just hours after our last moments on the dancefloor—conquered. After picking up the pieces, here are ten things we feel compelled to write home about.

DGTL P1010127

The location alone is worth visiting.

NDSM Docklands is a stunning setting for techno—of which there was plenty. During the lengthy ten-day set up more than 200 shipping containers were brought to the site, some of which would eventually form venues for the music.

It was industrial to the core—while we’re not always fans of huge warehouses, in this instance these settings worked, and the whole area was cleverly used (not least positioning Red Bull Music Academy Radio at the top of a crane overlooking the entire area). Meanwhile, with those after-parties taking over from 11PM at the same location, if you were powering through until morning it didn’t take long to reach the next destination.

In terms of overall festival experiences, DGTL was hard to fault.

DGTL ranks amongst the most fun we’ve had in the last 12 months–and definitely the most fun we’ve ever had in a place once used for the loading and unloading of goods from boats.

In addition to laughs, of which there were plenty, the execution was impressive. The standard of food was high, with everything from real burgers (i.e., not frozen suggestions of beef) to fresh pizzas available. The sound systems in every area were good, albeit not mind-blowing. The atmosphere from start to finish was truly infectious; smiles, handshakes, hugs and shared medicines. Oh, and thanks to a moneyless payment system involving topping up innovative smart-wristbands, we can’t really remember queueing for very long- whether at the bar or obligatory sausage stand.


Interactive sustainability is a real thing here.

OK, so festivals with an environmentally aware policy are nothing new, or indeed particularly unique. Nevertheless, DGTL’s approach to not causing much of an impact on the environment was impressive.

Billed as DGTL Revolution, the organizers were actively experimenting with a variety of power sources over the course of the weekend to gauge which worked best. These included wind turbines, a hydro-pumping station, solar panels and a human power station whereby passersby could hop on an exercise bike and, using the revolutions of the wheel, generate their own electricity. Meanwhile, the Electric Hotel—basically a place to charge your phone- was similarly running on renewables, and very useful at 10PM.

Happa is a name you should remember.

It’s safe to say we heard some solid sets during the course of our stay, but first prize has to go to the ridiculously enjoyable and refreshingly varied U.K. upstart, Happa. Finishing off the Stereo stage—a.k.a. a wrought iron bunker—on the final day needed something special, and Happa was it.

Following an intense and slightly garish introduction—from both an enthusiastic guy on the microphone and one hell of a huge synth and snare build—Truss's "Brockweir" opened the scoring for some heavy-duty rave-accented techno, riddled with clanging noises and cerated high hats, broken electro drops and bassbin shaking dubstep builders like Tessela’s "Gateway"—concluding with some nifty EQ work, tearing up staccato kicks in a way that left us wanting much, much more.

DGTL P1010129

Michael Mayer and Roman Flugel, minus the sun.

It should have been one of the busiest sets of the weekend- three hours from Kompakt hero Michael Mayer and fellow Germanic heavyweight Roman Flügel. But it didn’t quite work out as planned.

The pair were playing the huge Digital stage, which just 24-hours before had been heaving from front to back. Thanks to the canvass covering, though, and a surprise appearance from the sunshine, we arrived to find it largely empty, with most people standing outside, just in earshot, enjoying the rays. Nevertheless the duo persevered, slowly drawing listeners onto the dancefloor with wonderfully infectious percussive numbers, finishing up with a sizable crowd losing their minds. All good then.

Phono Stage, from start to finish, on Saturday.

Although it’s never a great idea to stay in one fixed spot at a festival boasting six arenas, each with several highlights on their respective bills—not least because it means you can’t go to the bar, or the toilet—we’re always pleased to see a line up that’s so good you could easily choose not to move, if the mood took you. Such was Phono on the first day.

By the time we got there Locked Groove was in charge, and living up to his name with a range of funky but banging tech house stompers that represent the antithesis of the subgenre’s throwaway pap; think Mr. G–in-looped-vocal mode. From there we were treated to Amsterdam's own Steve Rachmad; a live performance from CW/A; the ever impressive Boddika with a set defined by Impact Units’ Tenshin; followed by overall show stealer Makam, who outdid the lot with an array of big-room-yet-heads-down, U.K.–bass-leaning monsters. In short, whoever was responsible for the programming here needs a substantial bonus.

DGTL TD-20150405-DGTL-003-5331

The artistic side of the event was, in a word, mental.

As we already pointed out, DGTL puts an emphasis on aesthetics, and 2015’s edition lived up to our expectations. Which is probably putting it mildly.

Dotted around the site was a perpetual pendulum, known as the Chaosgenerator—created by the winners of the festival’s Kinetic Art Pitch competition, which ran on wind; the Hypercube (pictured), open for anyone to sit in and feel like a character from Tron, and a fire-breathing mechanical dragon that played some pretty weird music. This is in addition to performers using CCTV puppets, the human disco ball Bella Berlin, and more.

Maceo Plex deserved to close his own room.

By the time the Ellum bossman took control of the booth in the arena his organization was hosting, the words "hot," "packed," and "sweaty" best describe the scenario. Although perhaps a little too hectic if you suffer from claustrophobia, enduring the chaos was well worth it.

A combination of notably progressive-leaning house and deep but driving numbers ensured what we saw of his three hours definitely impressed. Stand out moments like Poni Hoax’s Hypercommunication or, with its sparse ambiance and moody vocals, Plex’s own remix of WhoMadeWho’s Heads Above pretty much summarize how it all went down musically. Meanwhile, our damp t-shirts were proof of the energy inside.

dgtl P1010102

Recondite’s apparently effortless live show.

It’s always impressive to see someone playing live properly. Recondite did just that in the Innervisions room (or shipping container) for 60 minutes on Sunday afternoon.

Despite this meaning missing the good weather outside, there could be no complaints. Going at it with a full hardware kit may be the latest way to show people you’re "serious about music," but rather than this being another pointless exercise in knob-twiddling—only achieving what could be done through a laptop anyway—it was a real display of musical pedigree. From space-age synth melodies ringing out on a MIDI keyboard, to drum machines emitting the kind of toughness that can ruin subswoofers, the performance seemed fully impromptu (though in reality it was undoubtedly meticulously planned).

After-parties we wished would never end.

Thanks to the relatively intimate size of DGTL and the huge Scheepsbouwloods after-party venue, carrying things on into the early hours wasn’t a problem. Luckily, anyone who had chosen to ‘camp’ in on-site "chalets" (a generous description for what resembled a prison hut), automatically had entry to the nocturnal events, so you didn’t have to stay in the poky but adequate accommodations for long.

Sunday’s finale saw John Talabot deliver one of the best sets we’ve heard from him, followed by former Trouw resident Job Jobse taking his home crowd on a compelling, peak-time journey, showing why that club's closing earlier this year is such a huge loss for Amsterdam. The only disappointment was  the need to drag ourselves away before the last tune in order to ensure there was enough time to pack before heading to the airport.

Oh, well—you can’t have everything.

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Walrus "Mother Nature" http://www.xlr8r.com/mp3/2015/04/walrus-mother-nature/ http://www.xlr8r.com/mp3/2015/04/walrus-mother-nature/#comments Wed, 15 Apr 2015 15:00:01 +0000 http://www.xlr8r.com/?p=89820 Walrus is a DJ and producer hailing from Brussels who specialises in leftfield club music. He's also one third of the Bepotel project, alongside Sagat and &Apos, which also has a label arm in Bepotel Records. At the end of this month, Walrus will release his latest EP, Club Jonathan, on the Roze Balletten label. The six track EP will be the second release on the Belgium label and is a nice blend of moody house tracks infused with jazzy acid tinged elements. In support of the release, Walrus has offered up his track "Mother Nature," a swinging house cut that gallops along held together by jittering percussion and airy pads. You can download "Mother Nature" for free below ahead of the EP's release at the end of the month.

Mother Nature


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Dasha Rush Sleepstep: Sonar Poems for My Sleepless Friends http://www.xlr8r.com/reviews/2015/04/dasha-rush-sleepstep-sonar-poems-for-my-sleepless-friends/ http://www.xlr8r.com/reviews/2015/04/dasha-rush-sleepstep-sonar-poems-for-my-sleepless-friends/#comments Wed, 15 Apr 2015 14:45:48 +0000 http://www.xlr8r.com/?p=89812 In addition to her long-standing relationship with techno, Dasha Rush no stranger to experimental electronic music—and Sleepstep is an impressive and highly conceptual culmination of her various talents and past projects. Its intention is to create a dream-like state that explores the liminal space where the waking world overlaps with sleep (and vice versa). The album's production and sound design is on a level with the likes of Pole as well as Vladislav Delay, Alva Noto, and the rest of Raster-Noton's past and present roster; silence, noise, spatial awareness, and sonic decay are used with a meticulous finesse that brings Rush's slumberous hinterland to life.

More conventional dancefloor-oriented techno is vaguely hinted at on “Abandoned Beauties and Beasts,” but its churning atmospherics never give way to a proper beat. “100 Hearts” also explores minimalist, sci-fi techno sans drum machine; bleeps flicker like distant antennas, or like city lights over breathy pads, as bursts of noise spontaneously clack across the mix like shooting stars. Dub techno and reggae form the backbone of “Scratching Your Surface (Revisited)” and “Antares,” while “Fog, Dogma, and Bread” approaches similar territory, but somewhat ambiguously with a strong ambient bent. “Sleep Ballade” and “Lumiere Avant Midi” draw us further into a semi-lucid state with their melancholic ebb and flow forming a meditative, slow lope.

Dasha Rush's voice shines on “Sail Away To Her,” where it takes the form of operatic drones that anchor the track's softly burbling arpeggios and strings to create one of Sleepstep's best and most emotional moments. On “Dance with Edgar Poe” and “Life Time Poem,” her spoken-word lyrics form the focus of the track, and at times are a bit distracting from all the lovely instrumental elements also occurring, but they never completely overtake and undermine the music. Finally, album closer “Outer Space” leaves us with a suitably celestial wash of mechanical sounds that elongate and fade away into distant nothingness. At last…sleep has arrived.

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Premiere: Hear Sasha B2B Dubfire Live 6 Hour Set http://www.xlr8r.com/news/2015/04/premiere-hear-sasha-b2b-dubfire-live-6-hour-set/ http://www.xlr8r.com/news/2015/04/premiere-hear-sasha-b2b-dubfire-live-6-hour-set/#comments Wed, 15 Apr 2015 14:42:37 +0000 http://www.xlr8r.com/?p=89833 Late last year, Trade Nightclub hosted Link Miami Rebels for When Pigs Fly, an event in collaboration with New York's Verboten that paired up four very influential electronic music icons and label heads for all night B2B sets. Room one featured the mouth watering match up of Sasha and Dubfire, with room two hosting Carl Craig and Matthew Dear.

Always pushing forward and reinventing themselves, Sasha and Dubfire have gone through a resurgence of late. Sasha released "Vapourspace" on his Last Night On Earth label, his first solo material in four years, and Dubfire recently launched his dubfire:liveHYBRID project, an ambitious audiovisual show. Their six hour B2B set from When Pigs Fly traverses all manner of house and techno and encompasses the full range of both artists. You can stream the full set in two parts below.

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Ossie Announces New Release on Meno Records; Hear a Track Now http://www.xlr8r.com/news/2015/04/ossie-announces-new-release-on-meno-records-hear-a-track-now/ http://www.xlr8r.com/news/2015/04/ossie-announces-new-release-on-meno-records-hear-a-track-now/#comments Wed, 15 Apr 2015 14:36:21 +0000 http://www.xlr8r.com/?p=89818 Following on from his recent stint at Red Bull Music Academy in Tokyo, East Londoner Ossie will release his The Buzz EP on the newly formed, and also London based, label Meno Records. As a part of Benji B's Deviation crew, Ossie has built quite a name for his DJing abilities, which also had a hand in the development of the EP. "The Buzz is a track that I've been developing for a while." Ossie says, "It started with me playing around with the central sound effect and wondering if I could get away with it, but as soon as I started dropping it in DJ sets and seeing the reaction it got, I knew it was going to become something special. I felt it just needed another element to take it to that next level and Aleisha Lee was perfect for it.”

The Buzz will be available April 20 through Meno Records and in the meantime you can check out EP the title track, "The Buzz," below.

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Interview: Ben Klock http://www.xlr8r.com/features/2015/04/interview-ben-klock/ http://www.xlr8r.com/features/2015/04/interview-ben-klock/#comments Wed, 15 Apr 2015 14:00:11 +0000 http://www.xlr8r.com/?p=89526 Far in the distance and irreconcilably aloof, he stands. The expectant crowd is hypnotized, entranced in the music as they move in unison to the raw and powerful techno beat. And then it comes: another irresistible bassline, another crescendo of elation—but Klock appears unmoved, wide-eyed yet stone-faced as he conjures up the next chapter in his compelling 13-hour narrative. It's an exquisite scene, the very height of hedonism, but one that depicts Klock as nothing more than a ruthless techno machine incapable of sentiment or emotion. Only by sitting down with him at his beautiful Berlin apartment did I discover a softer, human side to Klock’s character, one that is reflected in the deeper and warmer segments of his infamous DJ sets, but so commonly overshadowed and obscured by their relentless nature.

I meet Klock at the headquarters of his label, Klockworks—a small apartment/office building located towards the east of the city in Friedrichshain. He texts to say he’s running a little late, but arrives with enough time to make some quick decisions over the material for the vinyl cases of the label’s upcoming releases. There is a charming modesty to Klock; there is almost no ego, or one that is at least immediately apparent, despite a great pride in the quality of his work and a clear personal recognition of his artistic prowess. He stores all his productions in  a rather grand corner of his similarly spacious modernist apartment, and carefully reviews each and every prototype presented to him before choosing his favorite.

Photo: Stefan Wolf Lucks

Photo: Stefan Wolf Lucks

“I’m starving,” he says. “Let’s grab some breakfast and then we can do the interview.” He leads me out to his black BMW, and opens the boot to reveal a plethora of miscellaneous household objects, before joking about the personalized ‘BEN’ number-plate: “It only cost me 12 euros!” he says, grinning.

Klock’s underlying motivations for DJing are as strong today as ever. There is an insatiable hunger when he talks, an underlying passion that can stem only from a profound love for what he does. He sits up and smiles as he describes the feeling of "goosebumps" when he "drops the right track at the right time’ and forms a "deep connection with the crowd," before pausing to bask in the moment, as if revisiting it in his own head.

“I still see DJing as about 20 percent as a job, but 80 percent as doing what I love—or trying to achieve a vision,” he says. “Of course, there is a business side to it, but I still need to feel the core of it; I still need to feel the passion for it,” he adds, before reflecting on his answer. “If there are times where I don’t really feel the energy then I have to adjust quickly because then my role as a DJ won’t work. I have to have passion for it otherwise I cannot be good.”

But from where does this underlying motivation originate? Where has he drawn the inspiration to play regular eight-hour marathon DJ sets and travel all over the world almost every single weekend for the best part of a decade? Appreciation for his circumstances is certainly a continuous source. Despite the fortune and fame that has come his way over recent years, there remains an endearing humility deeply engrained in his nature, and Klock himself no doubt recognizes the fortunate position in which he finds himself. But looking at his status today, comfortably positioned amongst the best DJs in the world, it's easy to overlook the numerous doubts and difficulties he has had to overcome to find his place in music. “For me, it has not always been easy," he says. "I have struggled a lot and had a lot of different jobs so I have seen a lot of different things—and I think that makes me appreciate it even more.”

“At many points in my life, I thought I would never get anywhere; I just thought success was not for me,”

Klock knew very early on that he wanted to be a musician, but never felt destined for success. “At many points in my life, I thought I would never get anywhere; I just thought success was not for me,” he says, clearly moved as he reflects on quite how far he has come. “I had to fight very hard to get rid of these thoughts,” he says.

Following a period of small-scale success throughout the late ’90s with a series of residencies at Cookies, WMF and Tresor in Berlin, the prominence of house music and the absence of a residency slot saw him lose the love for music and come "very close" to quitting in the early ’00s. “There was a period where I doubted whether DJing was what I had to do,” he says. “I had no connection to music anymore; I didn’t have anything that really made me a DJ, so it was almost a natural process of moving out of it,” he adds, pausing for thought. “But there was always this thing in the back of my mind that I hadn’t found my right surrounding or my right place yet, which was then coming.”

This thing was Berghain, the launching pad for his career, granting him a residency in 2004 and eventually giving Klock the confidence to quit his freelance graphic design position some three years later. “I would normally say I would never have imagined this, because this, what I am doing now, is just crazy, and I never really felt like I could be a success,” he says. “But there was definitely another part of me that really envisaged exactly this—and maybe this was just the stronger part.”

Photo: Riccardo Malberti

Photo: Riccardo Malberti

Innovation and experimentation, too, continue to play a fundamental role in Klock’s relentless march towards techno immortality. “If techno just repeats itself again and again, then at some point this copy-paste music will become uninteresting,” he says. “So it is important that I keep looking for new ideas, inspiring myself without necessarily changing my direction musically.” It's his marathon sessions, at Berghain or beyond, that provide a testing ground for his latest material, pushing him to ‘"come up with something new" with the intimacy of those sessions providing an important source of inspiration that shorter festival sets cannot offer. “[Small club shows] are not about how much money I earn, but more about giving me a connection to a smaller crowd just to keep myself inspired,” he says.

Linked to this is a desire to test himself as an artist and continue spreading his music. “There are some shows I choose because I want to push myself artistically—it’s good to have a side where I do not feel too comfortable,” he says, before specifically referring to Coachella, a festival absent of any preexisting roots in deep and powerful techno. “This side is challenging, but I love this feedback when somebody tells me that they were never into techno but that that night I changed their idea of it,” he says. “At that beginning, they are just standing there and and after half an hour they are all dancing—and I can see their enjoyment in their faces. It’s an amazing feeling being somebody’s first step into this kind of music.”

As the conversation progresses, it becomes apparent that hidden beneath this gentleness is a self-driven and calculated perfectionist completely dedicated to his art. “Being [at the top] is one thing but staying there is hard, so I have to keep working,” he says. “I get super-frustrated if a show does not go so well, and I have to pick it apart from the technical standpoint to figure out which tracks or which transitions didn’t work,” he adds. “But the bigger side is the emotional side—why didn’t I have the energy that night? What bothered me? What are the circumstances that I have to change to be better again?”

Klock’s vision, ever since his early years, has never been in doubt, and driven by this deep-rooted intuition and desire to succeed he has committed his life’s energies to achieving his goal. Gone are the days of hesitation—Klock has evolved into a stalwart of the Berlin techno scene, an influential symbol of direction and self-belief.

“Criticism is far more common today than it used to be, but I have had to learn to deal with it because if you get too much involved in this it drags your attention away from what is important,” he says. “But I do not doubt my ability to be a DJ because I know that I can be amazing; I have had so many amazing shows and special moments, like magic moments—but there will always be times when it doesn’t click.”

Photo: Stefan Wolf Lucks

Photo: Stefan Wolf Lucks

Even today, he continues to work without a manager, a decision based on a desire to retain control of his artistic endeavors. “It is good to have a really good agent and I work with a few people, but I still want to be the guy to make the decisions and to say the direction we are going in,” he says. “Sometimes I just know but sometimes I have a little bit of doubt, and I will ask for feedback from a few trusted people.”

Away from his DJing, Klock has limited his production output to little more than a few sporadic EPs following the release of his critically acclaimed debut album on Ostgut Ton, 2008's One, a stunning piece of contemporary techno that helped him overcome the tragic death of his mother. However, there are now signs that Klock will soon re-enter his "cocoon" of a studio and put an end to this hiatus. “The music production has always been important, and even if I don’t do it for a while, I will always come back to it,” he says.

Klock’s love affair with music production dates back to his early childhood, but his growing reputation as a DJ and a corresponding pressure to re-enter the studio saw this love fade, leading him to focus his energies on DJing. “At that point, I made the conscious decision to make sure that when I did return to the studio, I wanted to be like a beginner again; I just want to go in with no pressure or idea of whether it’s going to be an EP or an album - let’s just see. This studio is now my little bubble and I just want to play around like a kid again,” he says.

"For long periods I have felt much more useful now as a DJ, but now I could be very happy locked in the studio for six months.”

“I have been waiting for the moment until I wanted to go back into the studio. It hasn’t been there for a while, and I didn’t miss it at all, but now it just feels right,” says Klock. “Apart from traveling so much and not having time, I didn’t feel like I had anything new to say.  For long periods I have felt much more useful now as a DJ, but now I could be very happy locked in the studio for six months.”

As I begin to question Klock on his life outside music, he laughs, finding humor in the fact that he doesn’t really have one. “From early morning until late night, music is constantly there,” he says. “I sometimes think that people work nine to five in the week and then they have a weekend—but I don’t have one. In a way, of course I am free and have my own schedule, but I am never really free from that job. I can’t even really watch a movie without being distracted, and this can be hard for me.”

Microphone off and interview over, the conversation continues as Klock describes his love for Berlin and recalls how honored he was that his 75-year-old father once attended his show at Berghain. The character before me is one so undiscovered by the public eye that it is hard to fathom that this is the Ben Klock so infamous for the the aggressive, ferocious nature of his sets.

“There is certainly a hard, powerful side [to my music] but there is also a warm, emotional side to it—and together, this is what gives it a journey,” he says. That description bears equal truth to both his work and the man behind it all.

Ben Klock is currently on tour:

Q Nightclub, Seattle: April 16
Coda, Toronto: April 17
Spy Bar, Chicago: April 18
Coachella: April 19
Crobar, Buenos Aires: May 22
Movement, Detroit: May 24


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George FitzGerald Shares Video for "Crystallise Feat. Lawrence Hart" http://www.xlr8r.com/news/2015/04/george-fitzgerald-shares-video-for-crystallise-feat-lawrence-hart/ http://www.xlr8r.com/news/2015/04/george-fitzgerald-shares-video-for-crystallise-feat-lawrence-hart/#comments Tue, 14 Apr 2015 19:31:41 +0000 http://www.xlr8r.com/?p=89786 "Crystallise Feat. Lawrence Hart" is the second track to be previewed from George FitzGerald's upcoming album on Domino / Double Six, Fading Love. The video was designed and directed by Joe Mortimer and follows one of the major themes of the album, "the exploration into the British acts which energized his affection for dance music - Underworld, Orbital and New Order amongst others."

Fading Love will be released April 28, with a preorder option available here. We also chatted with George for a 20 Questions feature and that can be found here.

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Premiere: Listen to Âme's Remix of a New Track by Howling http://www.xlr8r.com/news/2015/04/premiere-listen-to-ames-remix-of-a-new-track-by-howling/ http://www.xlr8r.com/news/2015/04/premiere-listen-to-ames-remix-of-a-new-track-by-howling/#comments Tue, 14 Apr 2015 19:00:32 +0000 http://www.xlr8r.com/?p=89746 Howling, the vocals-heavy house project of RY X from The Acid and Âme's Frank Wiedemann, is to drop its debut LP in May as a joint release on Modeselektor's Monkeytown imprint and the Ninja Tune sub-label Counter. Ahead of that the pair (pictured above) have shared with us the premiere stream of a remix of album track "Stole The Night" by Wiedemann and Kristian Beyer's own long-standing Âme project. Their rework, a typically airy and propulsive take on the low-slung, bass-heavy original, can be heard on the player below, while the album will be released on May 1 and can be pre-ordered here.

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Iglew "Sleep Lighter VIP" http://www.xlr8r.com/mp3/2015/04/iglew-sleep-lighter/ http://www.xlr8r.com/mp3/2015/04/iglew-sleep-lighter/#comments Tue, 14 Apr 2015 15:09:54 +0000 http://www.xlr8r.com/?p=89729 At the end of this month, London label Gobstopper Records will release the Urban Myth Ep by Leeds based newcomer Iglew. Described as "a result of the belated immersion of an outsider into sound system culture," the four track outing will be the producer's first release on Mr. Mitch's grime-focused label and shows that the young producer has surely found his footing. Being introduced to electronic music through podcasts and headphones rather than raves and soundsystems, Iglew's productions focus heavily on harmony, melody, and texture "as opposed to dancefloor hype." This can be heard on EP cut "Sleep Lighter VIP," a highly atmospheric and textural affair; with sliding synth phrases and Iglew's newly found bass knowledge front and centre. You can download "Sleep Lighter" for free below, with the full EP available for pre-order here.

Sleep Lighter VIP

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Hideout Festival Reveals 2015 Boat Party Schedule http://www.xlr8r.com/news/2015/04/hideout-festival-reveals-2015-boat-party-schedule/ http://www.xlr8r.com/news/2015/04/hideout-festival-reveals-2015-boat-party-schedule/#comments Tue, 14 Apr 2015 15:05:35 +0000 http://www.xlr8r.com/?p=89773 Having previously announced a general bill including Scuba, Paul Woolford, and Joy Orbison, Croatia's much-loved Hideout Festival has now announced its full scheudle of boat parties. Billed for the more than two-dozen sea voyages are the likes of Bicep, Citizenn, Dusky, Eats Everything, and Skream. The full line-up can be found below, with passes going onsale from this Thursday via the Hideout website. The festival runs from June 28 to July 2 at Zrce Beach on the island of Pag in Croatia.

June 28
Welcome Boat - People Get Real / The Sonic Emporium / Mike Jones / Grainger
MODA BLACK - Jaymo & Andy George / Tom Trago

June 29
Lobster Boy - Redlight / Mak & Pasteman
Bondax & Friends - Bondax / Starslinger
NoFitState - Simon Baker / Geddes / Matthew Styles
Dusky Presents - Dusky / Citizenn
Kaluki - Patrick Topping / Subb An
Thump - Bicep / Chez Damier

June 30
Street Tracks - Waze & Odyssey / Jonas Rathsman
FRIENDS WITHIN - Friend Within / Jax Jones
20:20 Vision - Ejeca / Ralph Lawson
Temple - Route 94 / Artwork
What Hannah Wants - Hannah Wants / My Nu Leng
I'm A House Gangster - DJ Sneak / PBR Streetgang

July 1
B Traits and Friends - B -Traits / Isaac Tichauer
Metropolis - Wilkinson & MC AD-APT / Dimension
Hypercolour - Huxley / Last Magpie / Ste Roberts
Blase Boys Club - Duke Dumont / Gotsome
SKREAMIZM - Skream / Derrick Carter
Viva Warriors - Steve Lawler / Detlef

July 2
Secondcity Invites - Secondcity / Oliver Dollar / Andrea Oliva
Speakerbox - Sigma / Mistajam / North Base
Monki and Friends - Monki / Mele / MJ Cole
Edible - Eats Everything / Jasper James
Digital Soundboy - Shy FX / Chris Lorenzo
Eton Messy - Blonde / Eton Messy DJs

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KMS to Release Two Volumes of Mid-90s Chez'n'Trent Remixes http://www.xlr8r.com/news/2015/04/kms-to-release-two-volumes-of-mid-90s-chezntrent-remixes/ http://www.xlr8r.com/news/2015/04/kms-to-release-two-volumes-of-mid-90s-chezntrent-remixes/#comments Tue, 14 Apr 2015 14:04:38 +0000 http://www.xlr8r.com/?p=89753 Kevin Saunderson's Detroit-based KMS imprint has knocked out a host of high-quality reissues in recent years, and its latest offerings are to be two volumes of remixes by Chez'n'Trent. The two volumes will collect together a total of eight reworks by Chez (Damier) and (Ron) Trent, pictured above) recorded between 1993 and 1995. The first 12" collects two versions each of "House Of Love" by Sonya Blade and "Its Going To Be Alright" by Miller/Scott Project, while the second features remixes of tracks by Esser'ay, Kreem, Inner City and Naomi Daniel. The packages will appear sometime during the spring (no more precise date is currently available), and ahead of their release the cover of Volume One and full tracklists for both can be found below.

chez n trent 300
Volume One
A1 Sonya Blade - House Of Love (Chez N Trent Vox Remix Dub)
A2.Sonya Blade - House Of Love (Chez N Trent Respect Vox Dub)
B1 Miller/Scott Project - Its Going To Be Alright (Chez N Trent Mix 1)
B2 Miller/Scott Project - Its Going To Be Alright (Chez N Trent Mix 2)

Volume Two
A1 Esser'ay - Forces (Chez-N-Trent Alternative Mix)
A2 Kreem - Now Is The Time (Chez N Trent Club Mix)
B1 Inner City - Share My Life (Chez N Trent Mid Dub)
B2 Naomi Daniel - Feel The Fire (Chez N Trent Dub)

(via Resident Advisor)

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Podcast 382: John Barera and Will Martin http://www.xlr8r.com/podcasts/2015/04/podcast-382-john-barera-and-will-martin/ http://www.xlr8r.com/podcasts/2015/04/podcast-382-john-barera-and-will-martin/#comments Tue, 14 Apr 2015 13:31:06 +0000 http://www.xlr8r.com/?p=89714 Some things just go so well together, you almost wonder if they were ever really apart. There’s gin and tonic, for example, or bacon and eggs, or Cheech and Chong, or…well, the list is long. But you can add one more entry to that catalog: Bostonians John Barera and Will Martin. It was just over a year ago that Barera, a cofounder of Supply Records, teamed with Martin for the highly lauded Yen EP on Supply; its two A-side cuts, “Awake” and "Say It Now," both brimmed with luminous house vibes, while the flip, “Unknown Factor,” boasted more of late-night, basement-party feel. All three, though, were obviously the work of two producers who are in love with the ways of classic house. They’ve followed their love (leaving a bit of time for affairs with disco and techno) in the months since, releasing the poised Graceless long-player on Steffi’s Dolly label and, just this month, the fab four-track 1,2,3 (Feels Right) EP on Steve Mizek's Argot. Barera and Martin have also been gracing the decks together on a regular basis, and they’ve just put together this stroll through house-music land (with time out for funky side jaunts from the likes Wally Badarou and Talking Heads) for your listening pleasure. Huzzah!


Video: John Barera and Will Martin discuss their XLR8R podcast

01 Aaron Carl "Crucified" (vocal mix) (Millions of Moments)
02 Kai Alce "Be-Bop" (Kolour LTD) 05:42
03 Nu Klass A "The Rhythm" (S Gurley Remix) (Public Demand) 9:13
04 Konstantin Sibold & Telly "I’m In Need" (Oracy’s Ancient Technology Dub) (Mojuba) 14:10
05 Delano Smith "Feel This" (Mixmode Recordings) 19:23
06 Glenn Underground "Afro Gente" (Superb Entertainment Records) 24:13
07 Jon Cutler feat. E-Man "It’s Yours" (Chez Music) 32:25
08 Pig & Dan "Doing It For Yourself" (Soma Quality Recordings) 35:41
09 Nina Kraviz "Taxi Talk" (Urban Tribe Don’t Lie To Nina Remix) (Rekids) 41:58
10 ERP "Vox Automation" (Frustrated Funk) 46:10
11 K15 "The Story Of Her Life" (Wild Oats) 51:45
12 Wally Badarou "One Day, Won’t Give it Away" (Riviera LM Recoding Systems) 1:00:15
13 Moon Runner "Interactive Track" (Toy Tonics) 1:04:46
14 Talking Heads "Pull Up The Roots" (Sire) 1:08:25
15 Kim Ann Foxman "Eye See Me" (Firehouse) 1:11:45
16 Strategy "The Mink" (100% Silk) 1:16:25
17 Ali Berger "Eve" (unreleased) 1:22:43

Download MP3
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XLR8R Podcast 382 John Barera & Will Martin

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FIBER Festival Returns With The Subterranean http://www.xlr8r.com/news/2015/04/fiber-festival-returns-with-the-subterranean/ http://www.xlr8r.com/news/2015/04/fiber-festival-returns-with-the-subterranean/#comments Mon, 13 Apr 2015 21:48:19 +0000 http://www.xlr8r.com/?p=89703 After a three year hiatus, Amsterdam's FIBER Festival will return May 15 and 16 with The Subterranean, which aims to act as a meeting point for creators and admirers of audiovisual art, digital design and electronic music. With the theme "The Subterranean: Exploring Networked Tools and Matter", FIBER will investigate the use of digital tools with which automatic technologies and alternative networks are made and manipulated. The festival takes place at two key venues; A Lab (symposium, meet-up, and exhibition) and the industrial club venue RADION (performances and club nights), with RADION featuring AV and music performances by Felix K, London Modular Alliance, John Osborn, and Neel, among others. Also offered are interesting speakers and day courses including workshops on how to build a radio station and use as a data transmitting station, designing entities in an online world, and projecting visual worlds on human bodies.

For more information, including the complete program and tickets, head to the FIBER Festival event page here.

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Kyodai Marea EP http://www.xlr8r.com/reviews/2015/04/kyodai-marea-ep/ http://www.xlr8r.com/reviews/2015/04/kyodai-marea-ep/#comments Mon, 13 Apr 2015 18:56:35 +0000 http://www.xlr8r.com/?p=89691 It’s been a busy few years for Kyodai, the Spanish sibling duo that first burst onto the scene via 2011’s Mi Rhumba EP on Freerange. It was a release that established the pair as players to watch—but in reality, it’s been a long trip to get where the pair are today: They spent the ’00s crafting Latin-tinged, jazz-drenched, and occasionally disco- and funk-flecked tunes under the Wagon Cookin’ moniker, with albums popping up on labels like Compost, Om and their own Appetizers. But by the time of the Mi Rhumba, the brothers had settled on deep house as their genre of choice, with the Latin influence manifesting itself more subtly; it was party music, alright, but party music with a exquisitely restrained edge.

Since then, via a steady output of EPs on Poker Flat, the aforementioned Freerange and, especially, Local Talk, the duo has largely continued in that mode—though the percussion-led Latinisms have largely receded, that feeling of restraint has usually held steady, with the occasional burst of sonic energy providing that feeling of beautiful release that deep-house aficionados know and love. But with the title track of Kyodai’s latest, out on Andre Crom’s OFF Recordings (the label's 111th release), the brothers let loose: “Marea” is a tidal wave of a tune, with a driving rhythm, growling minor-key synths runs, and cavernous effects all working to give the cut a relentless, dark, near-epic feel. It’s perhaps the biggest-sounding number we’ve heard yet from Kyodai.

It’s not only a big number, it’s a hot one too—albeit of a sort we don’t usually hear from the producers. As if to reassure their devotees that they haven’t abandoned their deep-house ways, flip-side number “Palma” sees Kyodai reverting to build-release form. It’s still more propulsive than what we’ve come to expect from Kyodai, but while “Marea” grabs you by the throat and doesn’t let got, “Palma” slowly amps the tension, gradually building to a glorious shimmer, then pulling back before hitting its crescendo—twice, for good measure. It’s a gem of a track, one that should satisfy their fans while attracting a few new ones as well.

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20/20 Vision Inaugurates New Look With Premiesku's Latest EP http://www.xlr8r.com/news/2015/04/2020-vision-inaugurates-new-look-with-premeiskus-latest-ep/ http://www.xlr8r.com/news/2015/04/2020-vision-inaugurates-new-look-with-premeiskus-latest-ep/#comments Mon, 13 Apr 2015 16:01:09 +0000 http://www.xlr8r.com/?p=89685 Last year, Ralph Lawson's 20/20 Vision celebrated 20 years in the game. Alway's pushing forward, the label decided it was time for a new look and went through an artistic overhaul, enlisting Leads based agency Golden to update the design, logo and artwork of the label. Kicking off this new look will be Romanian trio Premiesku (Livio & Roby and George G), who turn in a typically groovy EP, which also features remixes from two of house music's hottest acts in French producer Djebali and Argentinean virtuoso Guti.

The Jojoman EP opens with the title track, a chunky bass-driven house affair which has already been on heavy rotation by the likes of Apollonia since their BPM party in January. "Voice Game" ventures into more breakbeat territory with it's low slung groove and playful vocal samples. The full tracklist for the Jojoman EP can be found below, along with the new artwork, and you can catch Premiesku and their 'Analog Sound' live show at the 20/20 Vision showcase at Fabric on April 11 alongside Sven Tasnadi and Ralph Lawson.



A1. Jojoman

A2. Voice Game

B1. Jojoman (Djebali Remix)

B2. Voice Game (Guti Remix)

Life Tool (Digital Exclusive)

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Candide "See You Believe Me" http://www.xlr8r.com/mp3/2015/04/candide-see-you-believe-me/ http://www.xlr8r.com/mp3/2015/04/candide-see-you-believe-me/#comments Mon, 13 Apr 2015 15:00:14 +0000 http://www.xlr8r.com/?p=89654 Candide is a project that was conceived by Adam Brodsky and Candice Strongwater on a summer trip to Berlin in 2012. With Candice living in Berlin and Brodsky in Brooklyn, the project turned into an intercontinental affair with the two sending live percussion, stems, and vocal cuts to each other digitally and in turn giving their sound a collaborative life of its own. Their newest EP, Detract, will be self released via the group's Bandcamp page and is the follow up to last years, Don't You Go EP, on French label Zappruder Records. Pulled from the EP is "See You Believe Me," a vocal led production with a solid percussive backbone, sweeping synth phrases, and a deep, modulated bassline. The full EP will be available May 19 here, with "See You Believe Me" available for free download below.

See You Believe Me

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Prefuse 73 Details Forsyth Gardens EP, Shares Track http://www.xlr8r.com/news/2015/04/prefuse-73-details-forsyth-gardens-ep-shares-track/ http://www.xlr8r.com/news/2015/04/prefuse-73-details-forsyth-gardens-ep-shares-track/#comments Mon, 13 Apr 2015 14:02:19 +0000 http://www.xlr8r.com/?p=89669 Nearly four years have elapsed since veteran beatsmith and Warp affiliate Guillermo S. Herren last released under his best-known moniker, Prefuse 73. That's set to change, however, with two EPs and one long-player due out over the next few months via Brooklyn-based imprint Temporary Residence Ltd. "I've come back to hyper focusing, immersing myself in the sounds, rhythms, and formations that created Prefuse 73 in the first place," Herren says. "Recently, I've found a new life in the whole process of refining what I've created over the years as Prefuse. Right now I'm at my most confident and comfortable since '05/'06."

Herren first hinted at the run of new material back in January, and now, full details of the first EP in the series—Forsynth Gardens—have surfaced. Set to arrive on April 28, a press release describes the record, stating: "The prismatic textures that have long been a staple of Prefuse 73 are bound to beats and melodies with the spirit of hip-hop and the subtlety of modern minimalism."

The release of Forsyth Gardens will be followed by the Rivington Não Rio LP on May 12 (complete details here) and the Every Color of Darkness EP on July 14. Until then, the premiere of EP cut "Ages Upon Ages Upon You" can be heard below, where a complete tracklist has also been included.

1. Hustle (Intro)
2. Infrared Remix (feat. Sam Dew)
3. You Are Now Poison
4. Ages Upon Ages Upon You
5. Genderations
6. Still Pretending
7. Sunday Service
8. What They Got?
9. Sará Teflón

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Lnrdcroy Readies New EP for Unthank http://www.xlr8r.com/news/2015/04/lnrdcroy-readies-new-ep-for-unthank/ http://www.xlr8r.com/news/2015/04/lnrdcroy-readies-new-ep-for-unthank/#comments Mon, 13 Apr 2015 13:59:44 +0000 http://www.xlr8r.com/?p=89676 Upstart Vancouver producer Lnrdcroy (given name Leon Campbell) is set to debut on Firecracker sublabel Unthank next month with the first of two anticipated EPs. Campbell's inaugural solo effort arrived last year in the form of a cassette long-player for 1080p, and was subsequently picked up for a vinyl reissue by Firecracker. However, apart from a contribution to local imprint Pacific Rhythm's various-artist EP and a couple of split 12"s, Campbell has largely kept quiet until now. His forthcoming 10" comprises three new characteristically diffuse cuts and is expected to arrive in May; previews of the EP can be streamed below. (via Juno Plus)

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Setaoc Mass Inaugurates SK_Eleven Label http://www.xlr8r.com/news/2015/04/setaoc-mass-inaugurates-sk_eleven-label/ http://www.xlr8r.com/news/2015/04/setaoc-mass-inaugurates-sk_eleven-label/#comments Mon, 13 Apr 2015 12:37:50 +0000 http://www.xlr8r.com/?p=89681 Manchester-bred, Berlin-based producer Setaoc Mass (a.k.a. Sam Coates) launches the SK_Eleven imprint today with the surprise release of its inaugural record, Codes. Produced by Coates himself, the three-track EP sets the bar for the label's self-described commitment to showcasing "old and new dancefloor techno in its purest trippy form." Coates recently appeared on a compilation EP from the Initial imprint alongside UVB, Patrick Skoog, and Echologist (the project of Brendon Moeller), and has also been sighted on Glaswegian outpost Animal Farm.

Codes is out in both vinyl and digital formats now, and clips for all three EP tracks can be streamed below.

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Voices from the Lake Details Live Album for Editions Mego http://www.xlr8r.com/news/2015/04/voices-from-the-lake-details-live-album-for-editions-mego/ http://www.xlr8r.com/news/2015/04/voices-from-the-lake-details-live-album-for-editions-mego/#comments Mon, 13 Apr 2015 12:11:35 +0000 http://www.xlr8r.com/?p=89672 Voices from the Lake—the joint project of Italian techno experimentalists Donato Dozzy and Neel—will release a live recording via the esteemed Editions Mego label this summer. As Resident Advisor reports, the forthcoming Live at Maxxi LP was recorded on October 24, 2014 at the Open Museum Open City exhibition in Rome. While both Dozzy and Neel have appeared on Mego subsidiary Spectrum Spools previously—Neel with 2014's Phobos album; Dozzy most recently in collaboration with vocalist Anna Caragnano and with a collection of Bee Mask remixes—the forthcoming effort marks their collaborative debut on Editions Mego proper.

Ahead of the official release of Live at Maxxi on June 22, LP cut "Max" (which reinterprets Paolo Conte's song of the same name with arrangements from Brando Lupi) can be streamed below, where the album's complete tracklist has also been included.

01. Intro
02. Sonia Danza
03. Dreamscape Generation
04. Richiami e Oscillazioni
05. Orange Steps
06. Scintille
07. Max

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Premiere: Hear Dave DK's "Whitehill Feat. Piper Davis" http://www.xlr8r.com/news/2015/04/premiere-hear-dave-dks-whitehill-feat-piper-davis/ http://www.xlr8r.com/news/2015/04/premiere-hear-dave-dks-whitehill-feat-piper-davis/#comments Sat, 11 Apr 2015 15:29:14 +0000 http://www.xlr8r.com/?p=89656 German DJ and producer Dave DK has been on the scene for quite some time now, releasing music for over 15 years on highly regarded labels such as Moodmusic, Pampa, and most recently, Cologne based institution Kompakt. At the end of this month, Dave will release his latest LP, Val Maira, an epic sonic journey traversing styles and genres, from pop-ambient to more tuneful house and techno. The album spans 11 tracks, including the one below titled, "Whitehill," which features the vocals of frequent Stimming collaborator Piper Davis.

"Whitehill" unfolds beautifully across it's 6 minute run, opening with deep, muted rhythms and layers that unroll themselves into more melodic territory. Davis adds her silky vocal touch to top things off, made all the more effective with Dave's deft production touch. You can hear "Whitehill" in full below, with more album info and a pre-order option here, ahead of the April 27 release date.

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Premiere: Hear Audion Remix Leftfield's "Universal Everything" http://www.xlr8r.com/news/2015/04/premiere-hear-audion-remix-leftfields-universal-everything/ http://www.xlr8r.com/news/2015/04/premiere-hear-audion-remix-leftfields-universal-everything/#comments Fri, 10 Apr 2015 19:45:34 +0000 http://www.xlr8r.com/?p=89643 May 4 will see the release of a new single from pioneering British act Leftfield, now the solo project of Neil Barnes. "Universal Everything" will available in digital and limited edition vinyl formats and will come with remixes from Dutch wizard Legowelt, Bristol's Hodge, and Matthew Dear's alter-ego, Audion. The single will precede Leftfield's new album, and their third, Alternative Light Source, which will be released June 8 via Infectious Music.

Matthew Dear's always shifting Audion project has twisted "Universal Everything" into a heads down, atmospheric, dancefloor cut in true Audion style. The single can be pre-ordered here, with the Audion remix of "Universal Everything" streaming for the first time below; along with the previously heard original and Leftfield's upcoming tour dates.

Tour dates:

June 11 - Bristol, 02 Academy

June 12 - London, The Forum (SOLD OUT)

June 13 - London, The Forum

June 18 - Manchester, Albert Hall (SOLD OUT)

June 19 - Glasgow, Barrowland (SOLD OUT)

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L.E.V. Will Host Cabaret Voltaire, Ben Frost, and Blanck Mass on April 30 http://www.xlr8r.com/news/2015/04/l-e-v-will-host-cabaret-voltaire-ben-frost-and-blanck-mass-on-april-30/ http://www.xlr8r.com/news/2015/04/l-e-v-will-host-cabaret-voltaire-ben-frost-and-blanck-mass-on-april-30/#comments Fri, 10 Apr 2015 19:38:45 +0000 http://www.xlr8r.com/?p=89650 The Laboratory of Visual Electronics (L.E.V.) will take place in Gijón from April 30 to May 2 and will occupy different venues of the Laboral Ciudad de la Cultura ( Laboral City of Culture ) and Gijón's Atlantic Botanical Gardens. Focusing on audio-visual creation, L.E.V. will host some of the most interesting and forward-thinking artists in the experimental realm including Cabaret Voltaire Live AV, Bren Frost's AURORA with MFO, Blanck Mass, Senking, and Akkord.

For more information, including tickets and full lineup, head here and you can check out a trailer for a short film on the 2014 edition below.

LEV Festival 2014 - Docu Trailer from LEVFestival on Vimeo.


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Harriet Brown "Stop Think (Cooper Saver Remix)" http://www.xlr8r.com/mp3/2015/04/harriet-brown-stop-think-cooper-saver-remix/ http://www.xlr8r.com/mp3/2015/04/harriet-brown-stop-think-cooper-saver-remix/#comments Fri, 10 Apr 2015 15:11:00 +0000 http://www.xlr8r.com/?p=89636 LA based singer, songwriter, and producer Harriet Brown released his debut EP, New Era, last October on LA imprint Feel So Real. On April 20, EP cut "Stop Think" will get a remix package in the form of Stop Think Remixes, featuring a cast of rising Los Angeles musicians including Sage Caswell (who XLR8R featured in Bubblin' Up last year), Suzanne Kraft, Coolwater and the man in question here, Cooper Saver. Heading up LA based party FAR AWAY, Saver has hosted the likes of Tim Sweeney, Permanent Vacation, Beautiful Swimmers, and Museum of Love, all playing at his monthly, DIY, event. For "Stop Think," Saver has turned in an acid soaked, dancefloor focused, rework of the original; complete with entrancing, floating, vocals and sharp pads. It's easy to imagine this track feeling right at home at one of his FAR AWAY events, sitting pretty amongst the crew of high level artists he hosts. You can grab "Stop Think (Cooper Saver Remix)" below, before the remix package sees full release April 20, which can be preordered here.

Stop Think (Cooper Saver remix)

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