XLR8R http://www.xlr8r.com Accelerating music & culture Thu, 20 Aug 2015 11:20:23 +0000 en-US hourly 1 50 Weapons Announces its Grand Finale http://www.xlr8r.com/news/2015/08/50-weapons-announces-its-grand-finale/ http://www.xlr8r.com/news/2015/08/50-weapons-announces-its-grand-finale/#comments Thu, 20 Aug 2015 11:20:23 +0000 http://www.xlr8r.com/?p=99751 After a decade of prodigious releases, the lifespan of 50Weapons has expired. It's a sad state of affairs, but this intrepid label has refused to simply fizzle out and disappear: In anticipation for its final eleven releases, the label has announced an "R.I.P 50Weapons" worldwide tour and the creation of a special collector's box set containing the label's final twenty-two tracks which are set to release October through December.

While lineup, dates and specific locations are still to be announced, we know that the tour will include artists and guests from 50Weapons, as well as label heads, Gernot Bronsert and Sebastian Szary of Modeselektor and Moderat. The tour will make its way to London, Paris, New York, Berlin, Amsterdam, Montreal, Manchester, Lyon, Gdansk and Hamburg. To keep yourself updated on the tour, check out the Monkeytown website next week.

The beautifully crafted box set contains eleven colored 12”s with colored sleeves, an "R.I.P 50Weapons" sticker, and a customized USB with all twenty-two digital files on it.

Boiler Room shall be premiering each release one week prior to each record’s release date on Boiler Room TV starting on October 5. In addition to this, Boiler Room has debuted Modeselektor's track “50 Trees,” which can be streamed below, along with a homage created by the label which pays tribute to their previous thirty-nine releases. You can pre-order the beautifully crafted box set at the Monkeytown website here.


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Art Department Announces The Final Remixes EP on No.19 Music http://www.xlr8r.com/news/2015/08/art-department-announce-the-final-remixes-ep-on-no-19-music/ http://www.xlr8r.com/news/2015/08/art-department-announce-the-final-remixes-ep-on-no-19-music/#comments Thu, 20 Aug 2015 09:00:43 +0000 http://www.xlr8r.com/?p=99793 Art Department has just announced that they will finalize the remix series for its second studio album, Natural Selection, by issuing The Final Remixes EP on September 11 on No.19 Music

This release is to be the last of the four Natural Selection remix packages that have come out this year. Past remix EPs include The Walls by Dj Tennis, and Crazy by Jamie Jones and Dennis Ferrer. The EP will include remixes of "The Agent" by both Canadian producer Mathew Jonson, and by No.19 music co-owner and producer, Nitin. The EP also includes a remix of "Cruel Intentions" by Radio Slave in collaboration with Thomas Gandey, and reworking of the track "The Hunt" by Maher Daniel.  

You can listen to the previous remix packages for Natural Selection by clicking on the Soundcloud players below, and you can find full tracklist for The Final Remixes right here on XLR8R.

1. Art Department – The Agent (Mathew Jonson Remix)
2. Art Department Feat Seth Troxler – Cruel Intentions (Radio Slave and Thomas Gandey’s Last Communication remix)
3. Art Department – The Hunt (Maher Daniel Remix)
4. Art Department – The Agent (Nitin Remix)

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richard_p "modal_logic" http://www.xlr8r.com/mp3/2015/08/richard_p-modal-logic/ http://www.xlr8r.com/mp3/2015/08/richard_p-modal-logic/#comments Wed, 19 Aug 2015 23:38:27 +0000 http://www.xlr8r.com/?p=99813 Hailing from New York, covert producer richard_p is an artist who has decided to keep his real name undisclosed for “purely ambiguous reasons.” Releasing his EP Daseinloosely translated as ‘presence’ in German—via the Pastel Void label, this mysterious producer’s techno is heavy, shrouded in mystery, and highly conceptual. EP cut “modal_logic,” contains an atrociously tough 4-by-4 underlining that is accentuated by the wide variety of burgeoning soundscapes and emphatic yet minimal bass tones. The spoken word scattered throughout is either spoken word from richard_p himself or passages taken from the philosophical work of Martin Heidegger, “Being and Time.” You can download “modal_logic” for free below, with Dasein available over at Pastel Voids' bandcamp here.


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Premiere: Hear Klunks' Elastic Forest in Full http://www.xlr8r.com/news/2015/08/premiere-hear-klunks-elastic-forrest-in-full/ http://www.xlr8r.com/news/2015/08/premiere-hear-klunks-elastic-forrest-in-full/#comments Wed, 19 Aug 2015 20:30:57 +0000 http://www.xlr8r.com/?p=99747 Norwegian electronic producer Klunks will debut on Seattle's Hush Hush Recordings on August 21 with the release of Elastic Forest.

The seven-track release is a unique and floating assortment of downtempo electronics that transport the listener to Klunks' beautiful maze of sound. Whispered vocal samples converse with organic-tinged synthesis and faint, airy field recordings, all driven along by jazz-like percussion. It's obvious this deep tapestry of sounds is a well thought out process, further highlighted by the Norwegian's insight: "The compositional process is about making already encountered sounds more potent and unfamiliar.  There is something very interesting when materialities unleash there own imperatives towards the body, it's nothing more than a question of following sounds urgencies and what they summon, a sonic directiveness..."

Elastic Forest will be officially released on August 21 via the Hush Hush Bandcamp page, with the full release streaming exclusively below.

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Spatial Emergence #1 EP http://www.xlr8r.com/reviews/2015/08/spatial-emergence-1-ep/ http://www.xlr8r.com/reviews/2015/08/spatial-emergence-1-ep/#comments Wed, 19 Aug 2015 18:42:57 +0000 http://www.xlr8r.com/?p=99734 For anyone remotely involved in bass music or dubstep, the last few years have no doubt been something of a challenge. Faced with your favorite genre falling out of fashion, you can either carry on regardless, follow the masses back towards straight 4/4, or try something entirely different. Low-key U.K. artist Spatial (a.k.a Matt Spendlove)—who wasn’t strictly dubstep, but certainly operated on its fringes—did none of those things. Instead he slowed his release rate to a crawl, and in two years has put out just one EP on Jimmy Edgar’s Ultramajic label and an experimental 12"/DVD offering on Broken20.

Now that the dust has settled on the dubstep fallout, though, both he and his Infrasonics label are back from hiatus. And for that we should be thankful, because what the occasional Well Rounded and West Norwood Cassette Library alumnus offers up on Emergence #1 (the first of a triptych of new EPs lined up for this year) sounds fresh and compelling. Though his discography is indebted to techno and the so called hardcore continuum, this brace of tracks comes off as punchy, cavernous and floaty-light as the best bass hybrids you could wish to hear.

Perfectly physical opener "HeLa" is the one here: elastic, long-legged beats brush up with elegantly smeared synths to create a perfectly swelling groove that sweeps you up from the start. Every surface is buffed and metallic, which lends the whole thing a certain sense of crisp futurism—but pricks of 303 and more pixelated chords rough things up later on, reminding us that Spatial can do the minutiae as well as he can do the muscle. That is even more obvious on flip-side effort "Referent." Here, the synths are more like twisted stabs than graceful smears, as they cut in and out next to claps full of attack and above loose broken beats. Rising, falling, and threatening to collapse at any moment, barely-there sirens and spaceship reverb add depth and character to what is a zoned-out and brilliantly intergalactic affair. Spatial and his space-bass sounds, then, still offer lots to love.


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Watch a Video from DJ Spinn's Debut EP on Hyperdub http://www.xlr8r.com/news/2015/08/dj-spinn-preps-debut-ep-on-hyperdub-shares-video/ http://www.xlr8r.com/news/2015/08/dj-spinn-preps-debut-ep-on-hyperdub-shares-video/#comments Wed, 19 Aug 2015 14:55:03 +0000 http://www.xlr8r.com/?p=99726 DJ Spinn, a founding member of Chicago's Teklife crew, has a new EP on the way for the Hyperdub imprint. Spinn was a frequent collaborator with the late footwork innovator DJ Rashad, but Off That Loud marks his first-ever solo record. Its four tracks are said to "effortlessly consolidate energies from all over into footwork's 160 BPM grid," with closing cut "Dubby" co-produced by Rashad and featuring Detroit rapper Danny Brown. The EP lands on October 2, and until then, the video for "Dubby" (created by Ashes57) is streaming below.

1. Throw It Back feat Taso & Mimosa
2. The Future Is Now
3. Off That Loud
4. Dubby with Rashad & Danny Brown

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Oneohtrix Point Never Details New Album http://www.xlr8r.com/news/2015/08/oneohtrix-point-never-details-new-album/ http://www.xlr8r.com/news/2015/08/oneohtrix-point-never-details-new-album/#comments Wed, 19 Aug 2015 13:06:47 +0000 http://www.xlr8r.com/?p=99721 Onetime XLR8R podcast contributor Oneohtrix Point Never has divulged that a new album, entitled Garden of Delete, will see a release in November. In a .pdf uploaded to his website yesterday, the Brooklyn producer (a.k.a. Daniel Lopatin) addresses his fans and tells a tongue-in-cheek version of the LP's inception, which involves an alien collaborator named Ezra. Tentative track titles include "Sticky Drama" (also due for a video), "I Bite Through It," and "Animals," with Lopatin taking influence from "cybernetic rock" and his touring experiences with Nine Inch Nails and Soundgarden.

Garden of Delete will arrive via vaunted UK label Warp and follows Lopatin's celebrated 2013 album R Plus Seven. An alleged interview between Lopatin and Ezra is on view here, and the pair's Twitter exchange can be found here. (via Resident Advisor)

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Q&A: Heathered Pearls http://www.xlr8r.com/features/2015/08/qa-heathered-pearls/ http://www.xlr8r.com/features/2015/08/qa-heathered-pearls/#comments Wed, 19 Aug 2015 12:00:29 +0000 http://www.xlr8r.com/?p=99506 "I’m always wanting to make music that I can play when I DJ," Jakub Alexander, the producer better known as Heathered Pearls, says. "And I try. But people are always like, ‘Oh, your music is great! It’s so nice, so repetitive.' I’m like, ‘Oh, thanks.…'" There's a hint of exasperation in his voice, and you can't really blame the Ghostly International recording artist: In the musical world, the term nice often refers to work that exists more for its decorative qualities than for its substance or depth. And while Heathered Pearls' music is undeniably beautiful—he's described the electronic ambience of his first album, Loyal, as "indirect, huge, heavy, slow ocean waves off in the distance at night"—there's always been a bit more than prettiness at play in Alexander's sound. Just maybe, underneath the placid shoals, there are roiling waters, an undercurrent that belies the serenity.

That vague sense of unease comes closer to the surface on the new Heathered Pearls album, Body Complex, just released on Ghostly. Alexander, who cofounded the Moodgadget label and curates Tycho's great ISO50 blog, has replaced some of Loyal's shimmer with something a bit murkier, adding an layer of emotional resonance to the looped swells and drones. Still, Body Complex never strays far from the elegant beauty of Alexander's best songs—this is spine-tingling music of the highest degree.  As for music that he could use in his DJ sets—well, there are a number of tracks, “Sunken Living Area” and “Interior Architecture Software” among them, that could be thought of as "dance music," albeit dance music of a particularly exquisite nature. "I think the next record might actually be more full-on," the Poland-born, Detroit-area–raised, Brooklyn-based producer confides. Perhaps he will—but don't expect Heathered Pearls to ever fully forgo the sumptuous refinement that's gotten him to where he is.

What were your influences? I’ve heard you name-check labels like Dial and Mille Plateaux in the past.
Yes—and early on, Traum had some really good records, and I really liked stuff like Lawrence on Kompakt. I used to DJ with Ryan Elliott and Matthew Dear—this was around 2002—when we had a weekly at this weird place called Goodnight Gracie. Every Tuesday we would go out to Neptune Records, which was this very German-specific store in Royal Oak. It was very odd that there was a store with that kind of specialty round then, but I guess that was when those kinds of records could still sell like six or seven thousand. Anyway, I found myself getting into…I don’t want to say delicate, but the more melodic end of things. There was a lot of that kind of vibe back then, with people like Efdemin and Carsten Jost, and a bit later people like Pantha Du Prince, doing this really cool stuff.

The early-through-mid-’00s were a great time for that kind of pretty-techno material.
Definitely. Kompakt had a lot of the moodier, softer stuff as well. Those were the first things to really grab me after Detroit techno and the harder stuff that was around in the ’90s.

Do you feel that the Detroit techno or the harder stuff, has any bearing on the direction in the direction you took?
They might have been the things that kind of got me into electronic music. When I was really young, in the ’90s, I was getting those X-Mix compilations, and I loved them. But I wouldn’t say I’m really influenced by that—they certainly don’t sound anything like what I make. (laughs) It did open up the doors for everything else, like Dial and Traum, though.

You’ve said in the past that some of that music provided inspiration for your own “visions of interior architecture.” Could you elaborate on that a bit?
My mom’s an artist, and there was always a lot of art around me. I’ve always been into these kinds of minimal, DDR, cold war–design homes and installations. I was born in Poland and had been visiting communist Poland for a lot of my early life, and that kind of brutalism stuck with me—I never thought of it as this dark, stiff kind of architecture, though. I just liked it. And when I would daydream around music, or around designing stuff, it would always lean towards that sort of imagery.

Heathered Pearls Body ComplexWas that the inspiration behind the artwork on the album? You designed that, right?
Yes, that’s mine. I’ve always had the dream of building one of those minimal homes, but with what I’ve chosen for a lifestyle, I don’t see that happening. (laughs). I’ll never have a couple of million dollars. So the next best thing is to create miniature versions, or my own reinterpretation. I’m trying to take what living inside a brutalism-designed home would be like, and make it into something else. You know those people who have like train-station cities in their basement?

You mean model-train obsessives?
Yeah. I always imagine doing something like that—making my own little city of mini-cement homes, which are obviously not meant to be lived in, but are there within the landscape. And I’m lucky enough to be with Ghostly, and they give me a little bit of a budget for album-cover art, so I was able to do a design and have it made by someone. And I want to keep doing it, so this is a good way to start it off. I was actually thinking of doing a bunch of these things and make a cement sculpture garden. Not a Stonehenge—I’m not into anything like that—but just a place of my own.

A place where you can just relax?

Speaking of relaxing, you’ve described Heathered Pearls as a project that enables you to take a break from your personal anxieties.
Well, earplugs are very important to me now.

I guess you better explain that a bit.
When I was about 28, I went to a Gang Gang Dance show with my friend Ben Curtis, who has since passed away. We had had one beer, and I was standing right by the speaker when this high-pitched sound started coming out of it. I remember saying to Ben, “Man, I feel so drunk I can barely walk!” Ben was like, “We’ve had one beer. What are you talking about?” But something about that sound had just hit me. And when I woke up the next morning, the whole room was spinning. I got labyrinthitis, which is damage to the inner ear. There’s this gyroscope that helps you keep your balance, basically, and that got messed up. And ever since that show, for like five years now, I’ve felt like I’m on a boat.

My hearing is fine, but I always feel like I’m going to fall over. When I DJ, it can get really weird when the music gets intense, and I have to hold on to something. It took the doctors three years to figure out what was going on. And now I tell everybody to wear earplugs.


Well, that would explain the anxiety.
Before that happened, I was way more rowdy. Now I am riddled with anxiety. A lot of things can trigger it—but my music actually helps. With the first record I made, I was trying to mimic the feeling I had, using repetition to try and recreate what the ocean feels like, and what anxiety feels like.

I guess it’s surprising, then, that your music can sound so soothing.
Some people tell me it’s soothing—but some people tell me its really intense ambient music. Well, I never wanted the music to be minimalism, and I didn’t want it to sound like field-recording ambient, or sound too digital or dark. I just wanted to make something I could listen to on repeat, and those melodies on that first record are my favorite ones that I make back at that time.

What’s the Heathered Pearls production process like?
I’m mostly all Reason. Com Truise and Shigeto work that way, too. We sample into Reason, but then that’s the main tool. I use guitar pedals a little; I like to create really nice swells. I love the Space Echo, too— I only used it on one track, but I use it a lot when I play live. And I always want more pads—the deep, warm kind of pads. And the great thing about Reason is that the pad library is huge, and that’s really the main reason that I use it, I think. I love adjusting the pads through the VSTs that they have.

Repetition plays a large role in your music. What’s your theory on why repetition is such a powerful force?
I don’t know…but I know there is a lot of bad repetition. It’s hard to pin down exactly what makes good repetition good. But when I think of good repetition, I think of the kind of music I’d want to hear for 20 minutes, or for 45 minutes. I think of the the kind of music that someone like William Basinski might make, though I don’t know if I could explain why I like it. I actually have on a track on the last album, which is one four-second loop without one adjustment for six minutes. I think it’s the longest track on the album. I was just trying to prove the point that “this is my favorite loop, and I think it can go on forever.” Repetition is so important to me, but its hard to say why.

You just plain old enjoy it, maybe?
I do…but I want to try and tell you why I enjoy it. When I find a repetitive piece that I love, it’s a really special feeling. I guess I can’t really explain why I enjoy it so much.

Perhaps it’s simply the meditative nature of repetition.
The funny thing is, when I first started making music, I was like, “This is all meditative! Everything I make is meditative!” But people who I knew who were really into meditation said, “Well, usually people just meditate in silence. I don’t know what you’re talking about.” (laughs). But I think it is meditiative—though with my anxiety, I can never clear my head. So for all I know, maybe silence is more meditative than repetition for other people.

The Field

The Field

Are there any contemporaries who you feel a real affinity towards? I see you are playing with the Field in October, for instance.
Oh, man, yeah—when I do a remix, especially a remix of a band, I try to make it like a Field track. I don’t want to say this because it sounds so goofy, but it would be amazing to be considered the American version of the Field. He has a very specific way of sequencing samples that I can really relate to. Him and Terrence Dixon—my music isn’t nearly as digital or dark speedy as the stuff that Dixon does, but I love him. Those are the two guys…along with Markus Guentner. There are a bunch of other people, too, but we’ll just leave it at that.

Both of your albums have come out on Ghostly International, and you serve as the label's A&R guy. A lot of people who have worked with Ghostly seem to have a real reverence for the label—do you feel the same way?
Yeah, I think so. Sam [Valenti IV, the head of Ghostly] is one of my best friends, and I just really believe in the label. When I met Sam, when I was maybe 20, I was just this guy doing these little events in Ann Arbor, and I started interning there full-time, for free. I dropped out of school! Ghostly isn’t this cooperate kind of thing—it’s a beautiful home for moody electronic music. And there’s a focus on design and art—Ghostly exposes all these great visual artists. It’s such a good home for me that I couldn’t even imagine leaving. And Sam keeps pushing forward, so why would I?

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Premiere: Hear the Title Track From Walter Ego's Radio Bits EP http://www.xlr8r.com/news/2015/08/premiere-hear-the-title-track-from-walter-egos-radio-bits-ep/ http://www.xlr8r.com/news/2015/08/premiere-hear-the-title-track-from-walter-egos-radio-bits-ep/#comments Wed, 19 Aug 2015 05:43:21 +0000 http://www.xlr8r.com/?p=99705 Bad Taste mainstay Walter Ego is set to release his newest EP, Radio Bits, on September 25.

Walter Ego hails from Sheffield in the UK, but all you have to do is listen to his tunes for you to tell that this producer is distinctly British. The release is an assemblage of tracks which are loaded with laudable rhythms and colorful percussion, while the deeply rooted sub bass propels each track further and further onto the dancefloor—where it belongs. It is clear that Ego borrows from all of the UK’s best native genres (UK Garage, Bass, Grime) making Radio Bits a true-blue British club joint that is bound to shake floors across the country and beyond.

You can listen to the title track “Radio Bits” below and check out more tunes from Walter Ego and Bad Taste here.

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Regis and KUBORAUM Present The Immortal Eye http://www.xlr8r.com/news/2015/08/regis-and-kuboraum-present-the-immortal-eye/ http://www.xlr8r.com/news/2015/08/regis-and-kuboraum-present-the-immortal-eye/#comments Wed, 19 Aug 2015 00:58:46 +0000 http://www.xlr8r.com/?p=99618 Veteran techno producer Regis and artisanal eyewear company KUBORAUM have come together to curate a limited edition CD of unreleased tracks, melding a sound and style that strikes at the very heart of the Berlin techno scene.

Hailing from Birmingham, Downwards label head and mainstay of the late Sandwell District collective, Karl O’Connor (aka. Regis), has played an instrumental role in shaping the underground techno scene since the early 1990s. Despite this fact, he has largely kept to the shadows. The release of The Immortal Eye, which features five rigid and industrial soundscapes handpicked by Regis, is shrouded in darkness, featuring tracks from Oake, Autumns, Talker, Grebenstien_Bauner and Antonym, all who seem to possess a knack for the dark and the experimental. The release of the album coexists with KUBORAUM "mask C7" (which can be seen below).

Regis and KUBORAUM will also be premiering a sound installation at Berlin Atonal Festival at the KUBORAUM flagship store. The exhibition, "where sounds and masks share a unique space and vision,” will run from 5:30 - 7:30 on August 21. You can check out some snippets of the album below and take a look at the radically modish and unique masks made by KUBORAUM here.



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Wisdom Water "Tremble" http://www.xlr8r.com/mp3/2015/08/wisdom-water-tremble/ http://www.xlr8r.com/mp3/2015/08/wisdom-water-tremble/#comments Wed, 19 Aug 2015 00:54:35 +0000 http://www.xlr8r.com/?p=99678 Ivan Sokolenko (a.k.a Wisdom Water) is a 20 year old artist originally hailing from the Ukraine. His passion for music started when his parents enrolled him in a classical piano training program from the age of six years old. As he grew into his own creative space, he started experimenting with different musical genres and was particularly drawn to dub and deep techno. "Tremble" personifies this perfectly, with beautiful, melodic synth work, tightly wound percussion, and a deep and rolling low-end. Being a multi-talented artist, he does most of the artworks for his tracks himself. You can find more artwork and tracks over on the Wisdom Water Facebook page, with "Tremble" available as a free download below.


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Adam Beyer Announces Drumcode Halloween; Win a Trip for Two to London to Attend http://www.xlr8r.com/news/2015/08/adam-beyer-announces-drumcode-halloween-win-a-trip-for-two-to-london-to-attend/ http://www.xlr8r.com/news/2015/08/adam-beyer-announces-drumcode-halloween-win-a-trip-for-two-to-london-to-attend/#comments Wed, 19 Aug 2015 00:29:47 +0000 http://www.xlr8r.com/?p=99680 Following last year's highly successful halloween event at Tobacco Dock, Adam Beyer's Drumcode will once again return to London for a massive lineup of techno and house.

Spread across three rooms, this year's soiree will be headed up by a cast of Drumcode regulars—Alan Fitzpatrick, Ida Engberg, Nicole Moudaber, Dubspeeka and Reset Robot—alongside friends of the label such as Dense & Pika, Boddika, Maetrik, and Trevino. Also on the lineup, Pan Pot will be celebrating the release of its new album, The Others, which is out on September 24 on the duo's label Second State.

In addition, XLR8R has partnered with Drumcode Halloween and Beatport Guest list to offer one lucky punter two VIP tickets to the event, accommodation, and two return flights to London for the event. The prize is open to residents of United States, the United Kingdom & Ireland, Germany-Austria-Switzerland, Denmark, The Netherlands and Italy.



VIP tickets include:

- Fast track entry

- VIP rooms with comfy sofas and bean bags (in association with Jukely)

- VIP cash bar with cocktails, champagne & premium spirits

- VIP lockers / cloakroom

- VIP toilets with no queues

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High Tides High Tides http://www.xlr8r.com/reviews/2015/08/high-tides-high-tides/ http://www.xlr8r.com/reviews/2015/08/high-tides-high-tides/#comments Tue, 18 Aug 2015 22:09:59 +0000 http://www.xlr8r.com/?p=99658 Despite being from sun-soaked Malibu, California, dream-pop duo High Tides bear close sonic resemblance to chilly Scotland’s Boards of Canada, with both pairs creating densely saturated synth melancholia. But if Boards music were a color palette, its hues would be cold cobalt blues and greys—High Tides’ music, on the other hand, glitters like warm red, orange and yellow sunset beams resting on ocean waves, almost too bright and beautiful to stare at for long.

Warren Kroll and Steven Lutes have chosen appropriately-dated vintage synth and drum-machine gear to produce what feels like the soundtrack to a lost '80s surf movie shot on a cheap camcorder. Their distressed gear seems to be laboring and overheating as it creates golden chords and simple, brittle drum rhythms—but this production approach suits this clever Balearic/chillwave fantasy, steeped as it is in nostalgia and gossamer melodies. Tracks like “7 Mile Beach,” “Sunware” and “Blurring My Day” seem to be explicit references to the mood here: long, hot days spent drifting in and out of daydreams, lying on baking sands, cooled by gentle trade winds from the west.

That’s not to say High Tides’ compositions lack any mystery. The vocals on “Psychic Love Damage” evoke loss and longing, but are utterly buried under undulating synth pads and eerie vocal effects. A bit less elusive but still intriguing, “Ripped Tide” uses filters to a nearly psychedelic degree, pulling and shaping the instrumental analog waves into a voluminous churn, just listening feels a bit like being pulled effortlessly out to sea.

“Coastal Cruise ‘86” is a bit more obvious, the title hinting at a top-down-convertible-Karmann Ghia ode to John Hughes high-school days. Only “Face Breakout” takes the sun-exposure, summer-break concept a little too far—t’s an awkwardly arranged synth-pop melange with a saccharine aftertaste. But that’s only a minor detour in this otherwise smooth and satisfying journey.

It’s hard to ever imagine Boards of Canada putting out a romantic album. But we don’t have to imagine it, because High Tides have made it. Their conceptual self-titled album perfectly evokes teenagers in the throes of love on an endless summer afternoon. Who wouldn’t want to be there?

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Mumdance Celebrates One Year Anniversary of Rinse FM Residency http://www.xlr8r.com/news/2015/08/mumdance-celebrates-one-year-anniversary-of-rinse-fm-residency/ http://www.xlr8r.com/news/2015/08/mumdance-celebrates-one-year-anniversary-of-rinse-fm-residency/#comments Tue, 18 Aug 2015 21:30:25 +0000 http://www.xlr8r.com/?p=99592 After officially gaining a residency at the pioneering radio station Rinse FM in August of 2014, Jack Adams (aka. Mumdance) celebrates his one year anniversary and announces a North American tour this coming September and October.

Grime to Carribean Calypso, Acid House to Afro Beat, the sounds utilized by Mumdance in his mixes borrow from every corner of the earth. Drawing his power from the boundless sonic repertoire he has built over the years, his residency slot at Rinse FM highlights music that is fresh and dancefloor ready while also premiering tracks that are both vanguard and contemplative. Mumdance’s stylistic approach to his show and the culture he has created around it makes it clear that radio has had a large impact on his life and states that “it has been a pleasure to build my own little corner of it.”

Finishing up his summer residency in Dalston, Mumdance packs up and heads across the pond for his North American tour in the U.S. and Canada September through October. You can view the tour dates below and check out some of his previous Rinse FM shows here.

Mumdance US & Canada Tour 2015
10 Sep - Hopscotch Festival - Raleigh
11 Sep - The Works - Detroit
12 Sep - Grinnell College - Grinnell
17 Sep - Symbiosis Gathering Festival - Oakdale
18 Sep - Warehouse Party w/ Fine Time LA - Los Angeles
19 Sep - Rifflandia Festival - Victoria
22 Sep - Cervantes - Denver
23 Sep - Beauty Bar - Dallas
25 Sep - Oberlin University - Oberlin
26 Sep - Mint Gallery - Columbus
01 Oct - Newspeak - Montreal
02 Oct - Basement Movement Loft Party - Boston
03 Oct - Trans Pecos - New York
08 Oct - F8 - San Francisco
09 Oct - Venue TBA - Vancouver
10 Oct - VIA CHI Warehouse Party -  Chicago

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Premiere: Stream the Debut Landside EP in Full http://www.xlr8r.com/news/2015/08/premiere-stream-the-debut-landside-ep-in-full/ http://www.xlr8r.com/news/2015/08/premiere-stream-the-debut-landside-ep-in-full/#comments Tue, 18 Aug 2015 18:40:59 +0000 http://www.xlr8r.com/?p=99432 The Italian duo Hunter/Game have recently announced the Landside collaboration with the popular Icelandic band Kúra.

Kúra’s electronic dub work and Hunter/Game’s techno and house roots form deep, melancholic ambient music with an intense central groove, as Fanney Osk’s vocals interweave with melodic synths.

The Landside Part 1 EP is a visionary journey into ranges of uncharted soundscapes, merging abstract atmosphere with boundless emotion. Max Cooper’s remix of “Still There” is an eclectic vision of a deep flow, with vocals floating over a strong, dark baseline. Benjamin Damage’s remix of “Silence Before the Storm” is a straight techno tool, digging groove lines into ambient melodies and mellow vocals.

Landside recently announced two forthcoming EPs (released August 28 and September 11) debuting on Hunter/Game’s label, Just This, with incredible remixes by Max Cooper and Benjamin Damage on the first EP, Avatism and Extrawelt remixes on the following EP.

In advance of the collaboration's stunning Landside Part 1 EP release on August 28, XLR8R spoke with Hunter/Game to learn more about the project, with the EP streamable in full below.

Talk to me about the background behind the Landside Project. Where did you guys all meet and when did you decide to start up the Landside Music project together? 

We actually first discovered Kúra through YouTube. We were a big fans of Lulu Rouge's work, and we heard their remix for the band. We wrote on Kúra's fan page and we just started chatting. It looks like nordic people are really open-minded.

We then went to Copenhagen for a gig and met eachother face to face. It was the start of an amazing friendship. Since then, we have been working together on lots of things as Brynjar (one half of Kúra) actually has his own project Primal project  on our Just/This Label.

What’s the motivation behind the project?

It started out as just a collaboration between Hunter/Game and Kúra, but than we spent a long time in studio together in Copenhagen. We were just so inspired by what each of us were doing; we loved their their nordic sounds and they appreciated our techno roots. The result is something new for both of us, so we decided to start a new band project together.

Is there any particular reason for the name Landside?

Simply by spending a lot of time in Denmark and Iceland, we got really inspired by nordic atmospheres and Icelandic landscapes. The Landside sound is really coming through the nature, and that is why we came up with this name.

As a collaboration, you’ve already produced two EPs. How long have you been working on this material?

Producing in a band project is a completely different than for techno. You have to sit down and take your time to get inspired to write down the Lyrics, record the vocals and sing on the track, and then you have to arrange it.  It is also important to find the right mixing/mastering approach, and so everything takes literally ages. Plus we have been working between Italy, Denmark and Iceland. We actually almost have the album ready. It took around two years to have everything done properly.

You’ve got some wonderful remixers working on the project, including Max Cooper, Benjamin Damage, Extrawelt and Avatism. How did you choose which remixers to work with?

We were big fans to all of these amazing producers, and we really have been looking to them for the remixes. Every single track have its own vibe, and so we tried to select the originals for each producer to get more closer to their mood. The result is really more than what we could ever have expected. Everyone made something really special.

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Grischa Lichtenberger Returns to Raster-Noton with New Album Project http://www.xlr8r.com/news/2015/08/grischa-lichtenberger-returns-to-raster-noton-with-new-album-project/ http://www.xlr8r.com/news/2015/08/grischa-lichtenberger-returns-to-raster-noton-with-new-album-project/#comments Tue, 18 Aug 2015 15:04:47 +0000 http://www.xlr8r.com/?p=99545 Electronic music producer, visual and installation artist, Grischa Lichtenberger, will be releasing a new album project on the German label founded by Olaf Bender and Frank Bretschneider.

This new project will be titled: la demeure; il y a péril en la demeure, and will be released in two separate parts. As reported by Resident Advisor, the first part of the release will focus on the concept of "la demeure" translating to "the joy of being withdrawn from economic, temporal or social restraints in the confinement of a home" and will be getting released as a CD and 3 vinyl EPs this coming fall.

1. 1 b palcamp rm
2. sf rect
3. bre 41306
4. mmcr vngr
5. keys t
6. degrid skt
7. 134p78
8. 614 12
9. cl vb 2_v2
10. verl
11. 713 2
12. arct 1

Raster-Noton will release la demeure; il y a péril en la demeure on September 25, 2015.

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Podcast 400: Anja Schneider http://www.xlr8r.com/podcasts/2015/08/podcast-400-anja-schneider/ http://www.xlr8r.com/podcasts/2015/08/podcast-400-anja-schneider/#comments Tue, 18 Aug 2015 14:30:17 +0000 http://www.xlr8r.com/?p=99357 Pop the cork! Strike up the band! But most importantly, strap on your headphones—XLR8R is celebrating its 400th podcast. And we’re pretty darn proud of the series, too. Our very first installment, from 2006, came courtesy of the Plug Research label—and we haven’t let up since, with mixes coming courtesy of everyone from Ellen Allien, Kevin Saunderson, Laurent Garnier and Anthony Parasole to Untold, the Orb, Mr. Scruff and Anti-Pop Consortium. (And exactly 391 other labels and artists, too.) For this milestone, we’re more than happy to host a great set from a clubland stalwart, one who's got something to celebrate herself: Mobilee’s Anja Schneider. Founded by Schneider and partner Ralf Kollmann in 2005, the Mobilee label—known for its steady output of solid-steel, four-to-the-floor material, much of it from a core production group that counts Rodriguez Jr., Pan-Pot, Sebo K, And.Id and Schneider herself among its members—is in the midst of it’s tenth-anniversary celebrations, no easy task in today’s trend-driven, financially-iffy music-business world. (To what does Schneider attribute it’s staying power? “Don’t take yourself too seriously,” she explains.) Her mix is a beauty, heavy on tracks from the Mobilee discography (including a few newies), weaving from driving to deep, from tough to emotive, and back again. If you’re into teched-up house (or is that housed-up techno?), we think you’ll love it as much as we do. And stick around—with any luck we’ll be bringing you another 400 podcasts, if not more, in the coming years. And we can’t wait.

VIDEO: Anja Schneider discusses her XLR8R podcast.

01 Mirko Loko "Kolor" (Carl Craig remix) (Cadenza)
02 Geddes “On The Streets" (Truesoul)
03 Ben Aus “Circus Dub" (Alphahouse)
04 Jey Kurmis “Hodgeheg" (Red Lunar Records)
05 Burnski “Divison" (Mobilee)
06 Clio “Brotherhood" (Red Lunar Records)
07 Gel Abril "Carpet Sneak' (Mobilee)
08 Anja Schneider “The Squaring" (Mobilee)
09 Kevin Over “Face Off" (Mobilee)
10 Rodriguez Jr. “Etoile Du Nord" (Mobilee)

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Stream a Track from the Debut Blond:ish Album http://www.xlr8r.com/news/2015/08/stream-a-track-from-the-debut-blondish-album/ http://www.xlr8r.com/news/2015/08/stream-a-track-from-the-debut-blondish-album/#comments Tue, 18 Aug 2015 13:31:24 +0000 http://www.xlr8r.com/?p=99560 After having established their rule over the 12" format and turning the run-of-the-mill dance EP into a miniature opera in its own right, Blond:ish have now announced plans for their debut album, entitled Welcome to the Present.

Flexing the psychedelic and spiritual influences that already informed their previous works, this new material presents itself not so much as the collection of DJ-ready peak-time bangers that some would have expected, but more of an adventure. It sees the duo embark on a universal journey, departing from the club comfort zone and exploring the deeper shades of world electronica. Here, each track is part of a bigger story, accomplishing its role in a vibrant, colourful mix of electronic moods, field recordings, traditional instruments and polyglot vocals.

In advance of the album's October 23 release, a club version of lead track "Endless Games" can be streamed in full below.


01. Shy Grass
02. Los Pensamientos
03. Lucy's Affair (Album Version)
04. Endless Games (Album Version)
05. Nada Brahma
06. Moonvalley
07. Velvet Wave (Album Version)
08. Myein Caravan
09. Jupiter & Jaguar
10. Inner Jungle
11. It Starts Now

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Event Review: Low End Theory Festival http://www.xlr8r.com/reviews/2015/08/event-review-low-end-theory-festival/ http://www.xlr8r.com/reviews/2015/08/event-review-low-end-theory-festival/#comments Tue, 18 Aug 2015 13:00:56 +0000 http://www.xlr8r.com/?p=99312

Video & Photos by Chris Nelson

It’s hard to get much more Los Angeles than being in the thick of the Low End Theory Festival, held on August 8 at the Shrine in Los Angeles. For years, the Oscars were held in these hallowed halls at the northeastern tip of the University of Southern California. Some old-school ravers may remember Sasha & Digweed played a monumental Fourth of July party there in the summer of 2000. But when Flying Lotus took the stage somewhere around 1am for his headlining festival set and the words “You’re Dead” flashed on the screen, he just may have been addressing any of those past relics—and proclaiming himself the future. Five thousand head-nodders roared in agreement.

It's been a slow burn for the weekly Lincoln Heights party that grants its name to this festival of Los Angeles-based artists, now in its second year. Produced in partnership with Goldenvoice—the Goliath behind Coachella and many, many other shows in the LA area—it’s  clear that after nine years, the surrealist, psychedelic and highly experimental aesthetic honed by Low End co-founders and residents Daddy Kev, the Gaslamp Killer, Nocando, Nobody and D-Styles, and propagated far and wide by the likes of Flying Lotus, Daedelus, Thundercat and the Odd Future collective, has struck a nerve.


Free the Robots performing at the outdoor stage

Of course, in the big moments, that's easy to see when like FlyLo gets decapitated by his own accompanying visuals, or when Earl Sweatshirt, mid-performance, somberly pays respects to a friend who had just passed mere hours ago, or when Nosaj Thing demonstrates his utter mastery of the crowd. But the Low End crew is known for their jokes and anecdotes during set changeovers, and one from the night stood out.

After his set, the Gaslamp Killer took to the microphone while the equipment for Thundercat’s performance was being set up. Gaslamp regaled the crowd with a story about the legendary bassist’s recent travels: Having flown in that same day, the airport staff (not knowing the importance of this divine instrument) insisted that Thundercat check his bass. To his horror, when he opened up the case, his bass had been utterly disrespected, mishandled and straight-up broken.

While many musicians would have replaced the instrument, Thundercat’s instrument is one of a kind—and therefore irreplaceable. So he had his bass repaired that same day, and came out on stage to execute his customary musical spectacle, involving sweeping arpeggios that gracefully complement his distinctive piping vocals.

As expected, both musically and emotionally, the big guns delivered. But as the crowd discovered, the cult of Low End Theory filters down to all of the small moments and details as well.

Daedelus on stage kicking off the workshop portion

Daedelus on stage kicking off the workshop portion

Although the festival officially began at 4pm, the doors opened several hours earlier for a series of technical workshops. Longtime Low End stalwart Daedelus, looking like a grown Oliver Twist holding a TR-8, gave a brief overview of alternative beat structures to the standard 4/4. Dr. Strangeloop walked through some of the software he uses for visuals, and Daddy Kev gave a truly down-in-the-weeds Ableton tutorial. The crowd was captivated. That's the norm for any Low End Theory Wednesday, however, not just the festival. These guys enjoy interacting with their community and it has cultivated a dedicated following that made it standing room only not too long after the workshops began.

The large early crowd made for some huge smiles and earnest moments, as each of six hand-picked winners of a “beat invitational” were invited to play five or six minutes of original music for their peers after an introduction from Nocando. They were all genuinely geeked. Whereas most DJs and electronic music performers create more barriers between themselves and fans as they gain notoriety, the Low End crew is hanging out on stage spouting good-natured barbs to the up-and-comers, a group that may very well contain the next Flying Lotus.


This cultivation shone through in a chance conversation outside with Cazal Organism, one of the early-afternoon undercards playing on the outdoor stage. He spoke with glowingly about the Low End core crew for believing in him and giving him the chance to play his music. He said it with reverence—as if he was describing a meeting with the Dalai Lama. This was his world, his life and he was at his temple of worship. This was serious.

Seriousness abounds, actually. There isn’t a ton of dancing as much as there is varied head movements. You won’t find any glow sticks, or candy-raver light-glove nonsense, in the corners. The V.I.P. area was strictly for press to get a good vantage point for pictures. There was no bottle service.


That’s not to say that people weren’t having fun, as there were plenty of grins outside in the pitch-perfect LA weather. But by allowing an 18-and-up crowd, Low End's engendered a level of musical fanaticism that only a foundation of teenage fans can bring. Any one of them, man or woman, would probably kick the shit out of Justin Bieber if they saw him walking down the street. By this measure, they’re not self-serious as much as they just take this music and their scene seriously—which is an interesting contrast to the looseness and general stage antics of the residents.

As for the music, the hip-hop leaning sets from Nocando and Daddy Kev, and the sheer force of nature that is the Gaslamp Killer, were personal favorites. Alix Perex & Eprom still had an obvious rawness to their evolving collaborative live show, but it’s clear that the two are professionals with a clean, defined sound that stretched the wall of subs to their limits, finding that perfect head-bobbing half-tempo groove with plenty of production flare (check the song in the above video for a sample of their new EP).

Playing week in and week out has given all of these guys a noticeable mastery of their craft, despite the playful and deep-crate origins of their musical selections. It’s remarkable, actually, what the residents and the regulars have been able to accomplish by championing music that's anything but 4/4 and accessible. Some of the earlier sets didn’t quite translate—but that’s to be expected from a culture that encourages experimentation. Laptops are the weapon of choice and no one expects smooth transitions. There’s not much vinyl-purist snobbery to be found among the Low End crowd.



So many scenesters claim to be “all about the music” as they pile on the drugs. If it’s not that, they criticize every single minute technical error, to the point of making how well someone can ride a fader the singular focus, as opposed to what’s coming out of the speakers.

But that's not what Low End Theory is all about. Even with 5,000 plus in attendance at the festival, there was plenty of  camaraderie, greetings and commiserating that was borne of a familiarity that existed long before Low End was doing events of this size. The incredible, singular novelty about Low End Theory is that they just really fucking like each other, and love the music they all make. In this respect, they are LA’s standard bearers.

gaslamp killer

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Mutek.MX 2015 Expands Lineup http://www.xlr8r.com/news/2015/08/mutek-mx-2015-expands-lineup/ http://www.xlr8r.com/news/2015/08/mutek-mx-2015-expands-lineup/#comments Tue, 18 Aug 2015 00:30:12 +0000 http://www.xlr8r.com/?p=99488 Widely recognized as one of the world’s most cutting edge music festivals, Mutek travels down to Mexico for its 12th edition of Mutek.Mx, set to take place in Mexico City between October 21 – 25.

Featuring a plethora of artistic performances and educational activities, Mutek.Mx provides an ideal atmosphere for digital creativity. With each passing year, the festivals experimental mentality and the astonishing display of both visual and sonic performances continue to attract some of electronic music’s most formidable artists. This year’s edition will feature acts from Ben UFO, Allesandro Cortini, AR-P, Atom & Tobias, Vatican Shadow, Clark, DJ Koze and more.

This year, XLR8R traveled to Mutek Montreal to bring you an in-depth look at one of electronic music’s most forward-thinking festivals. You can watch the video below or check it out on XLR8R TV. For more information regarding venues, schedule, and tickets for this years edition of Mutek.Mx, head here.

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XLR8R's Top 10 Downloads of July http://www.xlr8r.com/mp3/2015/08/xlr8rs-top-10-downloads-of-july/ http://www.xlr8r.com/mp3/2015/08/xlr8rs-top-10-downloads-of-july/#comments Mon, 17 Aug 2015 20:23:09 +0000 http://www.xlr8r.com/?p=99456 The month of July again saw a healthy chunk of free tracks land in XLR8R's downloads section, and once again, it's time to announce the 10 most popular tracks from the past month. Taking the top spot this time is June's second place artist MANIK, who's "JJ" summer edit series seem to be hitting all the right buttons, "JJ02 (MANIK Acid Reflux)" was followed closely by Denver-based artist Bollywood Life and his original cut "Clear." Also landing in the top 10 were cuts by UK collective The Cleer Consortium, squareglass member Bunki, Nerve Leak and Taylor Barrow, among others.

July's top 10 XLR8R downloads have been assembled below and can be grabbed for free by following their respective links. In addition, all 10 tracks have been compiled into one convenient playlist, which can also be found below.

1. MANIK "JJ02 (MANIK Acid Reflux)"
2. Bollywood Life "Clear"
3. Ballerino "Love (Bunki Remix)"
4. Taylor Barrow "Krustiq Bits"
5. Nerve Leak "Hurt You"
6. TOYS "Golden Line (A Theory Remix)"
7. AntiAlias "Self Encounter"
8. The Cleer Consortium "Cleerly Jazz"
9. Jack Wickham "Oxhot"
10. Jenifa Mayanja "What A Strange Dream"

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Premiere: Hear the New EP From The Cleer Consortium & Friends http://www.xlr8r.com/news/2015/08/premiere-hear-the-new-ep-from-the-cleer-consortium-friends/ http://www.xlr8r.com/news/2015/08/premiere-hear-the-new-ep-from-the-cleer-consortium-friends/#comments Mon, 17 Aug 2015 18:25:55 +0000 http://www.xlr8r.com/?p=99446 Following on from its sold out first release, The Cleer Consortium return for the second release on Eye Shadow—the label run by the quartet of producers behind The Cleer Consortium.

With an aim to spotlight the underground techno scene in Newcastle Upon Tyne and the surrounding postcodes of Middlesbrough, Sunderland, and beyond, The Consortium are joined on Eye Shadow 002 by an assortment of friends—Ruthit, Jason Wright, Steve Legget, and Matthew Sogorski—for another belting techno release. The EP beautifully operates in the nether regions between house and techno, with four brilliant cuts of deep, dub-tinged club beats from the rising collective.

Eye Shadow 002 can be preordered over at Juno, with the EP streaming in full via the player below.

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Derrick Carter, Michael Serafini, Garrett David Headline Queen! at Smart Bar Chicago http://www.xlr8r.com/news/2015/08/derrick-carter-michael-serafini-garrett-david-headline-queen-at-smart-bar-chicago/ http://www.xlr8r.com/news/2015/08/derrick-carter-michael-serafini-garrett-david-headline-queen-at-smart-bar-chicago/#comments Mon, 17 Aug 2015 17:34:40 +0000 http://www.xlr8r.com/?p=99419 House music will always have its roots firmly planted in the underground gay dance scene, with parties like A Club Called Rhonda in LA and Hot Mass in PGH producing some of the most liberating and unique events in the USA. 

Another name with strong ties to the LGBT dance community is Chicago music institution, Smart Bar. Having more than 20 years under its belt as a strong curator of weekly dance nights and residencies, the club is announcing that it has now remodelled its long-running gay dance party, Queen!Known for his lineage of club nights, head organizer and Smart Bar resident Michael Serafini has taken the task of assembling some of house music’s most cherished and respected DJs for the rebirth of Queen!, including Derrick Carter, Mystic Bill, and Jacob Meehan. This night is not only about having the best house DJs in the world as its weekly residents, but also about its cast of characters and hosts, like Sissy Spastik and Jojo Baby, who give their heart and soul to the scene and make everyone feel at home.

Check out the event details for the next couple of weeks at Queen!, and check out this live recording of Derrick Carter at the opening party. 

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Elektron Release First Record on New Label http://www.xlr8r.com/news/2015/08/elektron-release-first-record-on-new-label/ http://www.xlr8r.com/news/2015/08/elektron-release-first-record-on-new-label/#comments Mon, 17 Aug 2015 17:29:21 +0000 http://www.xlr8r.com/?p=99434 Elektron has become increasingly well known throughout the years from manufacturing some of the most sought after drum machines and synthesizers currently on the market, including Analog RYTM, Octatrack, and the Overbridge Software. Now the company has debuted a new record label that will focus on releasing music made with its flagship analog equipment. 

The first artist chosen to release on EGR is non other than post-techno duo Plaid. The project is made up by producers Andy Turner and Ed Handley, and the two have been active in electronic music since the 90’s, collaborating with artists and filmmakers for over 20 years. The 12” vinyl will be limited to only 300 copies, and all of the proceeds from the sale of the records will go directly to the Macmillian Cancer Support charity. 

You can order the limited-edition record which comes out today directly from the Elektron website.

]]> http://www.xlr8r.com/news/2015/08/elektron-release-first-record-on-new-label/feed/ 0 Moduleset "Point" http://www.xlr8r.com/mp3/2015/08/moduleset-point/ http://www.xlr8r.com/mp3/2015/08/moduleset-point/#comments Mon, 17 Aug 2015 15:30:07 +0000 http://www.xlr8r.com/?p=99386 Texturally dense and highly atmospheric, Moduleset's "Point" opens the Fissure EP with a bold statement of what's to come. Taking stylistic cues from dub techno, Moduleset twist the formula into something altogether its own. Sunken pads swirl under earthquake-like bass, with crisp, snappy percussion writhing around on top. The remaining three tracks play in the same realm, a deep, hazy, and cavernous sonic world created by Moduleset. Fissure was released via the relatively new Brightest Dark Place imprint on August 7 and can be purchased via the label's Bandcamp page, with "Point" available as a free download below.


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Premiere: Stream the New Nuage EP in Full http://www.xlr8r.com/news/2015/08/premiere-stream-the-new-nuage-ep-in-full/ http://www.xlr8r.com/news/2015/08/premiere-stream-the-new-nuage-ep-in-full/#comments Mon, 17 Aug 2015 14:39:36 +0000 http://www.xlr8r.com/?p=99407 Project:Mooncircle is set the release the Neida EP, the beautiful new release from Nuage which features eight floaty, mysterious and elegant songs.

Inspired by a long lost tale from dark and cold northern lands, Neida is the story of a young boy who one day noticed an eerie call, so peculiar and odd that he could not resist but to follow it.

While it resonated through remnants of ancient settlings, the boy had to overcome many obstacles and solve numerous quests, journey through mystical forests, foggy mountains and ghostly villages, battle the forces of nature and lose himself in this adventure. Finally reaching the ocean after an exhausting voyage, a mysterious invisible force drew him closer and closer to it, suddenly entranced in a state between consciousness, floating underwater, lured by the siren of the sea.

Ahead of the its August 18 release date, via limited vinyl (including download code), the full EP can be streamed in full below.

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Surgeon, Levon Vincent, Andy Stott, and More Booked for Unsound 2015 http://www.xlr8r.com/news/2015/08/surgeon-levon-vincent-andy-stott-and-more-booked-for-unsound-2015/ http://www.xlr8r.com/news/2015/08/surgeon-levon-vincent-andy-stott-and-more-booked-for-unsound-2015/#comments Mon, 17 Aug 2015 11:02:26 +0000 http://www.xlr8r.com/?p=99400 When experimental music festival Unsound made its first announcements earlier this year, it opted to omit some crucial information: its line-up. By way of explanation, organizers asked,"How do our expectations affect the value we place on music as an art form?" Now, with a start date of October 11 fast approaching, a substantive chunk of acts booked for this year has been revealed in one. The 2015 edition will showcase a number of high-profile pairings, including Birmingham techno veteran Surgeon with Gaga collaborator Lady Starlight, Shackleton and Japanese trio Nisennenmodai, and Rabit and Kuedo. Other highlights include The Black Madonna, Helena Hauff, Charles Cohen and Rabih Beaini, Holly Herndon, footwork originator RP Boo, and "new-age legend" Laraaji. More club-oriented offerings will come from Andy Stott, Zenker Brothers, Levon Vincent, Aurora Halal, Galcher Lustwerk, and Low Jack.

Still, as a press release notes, nearly half of the line-up remains under wraps, "establishing tension between the known and the unknown whilst playing with preconceptions we bring to the act of listening, especially within a festival context." For full details, head here.

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Berlin Atonal Relaunches Imprint with Cabaret Voltaire, Abdullah Rashim, and More http://www.xlr8r.com/news/2015/08/berlin-atonal-relaunches-imprint-with-cabaret-voltaire-abdullah-rashim-and-more/ http://www.xlr8r.com/news/2015/08/berlin-atonal-relaunches-imprint-with-cabaret-voltaire-abdullah-rashim-and-more/#comments Mon, 17 Aug 2015 10:35:32 +0000 http://www.xlr8r.com/?p=99394 Last week, XLR8R named the upcoming edition of Berlin Atonal as one of this week's don't-miss events, but the storied experimental music festival has also shared some news of its own. On August 31, after 31 years, Atonal is relaunching its eponymous imprint. As Resident Advisor reported on Friday, Berlin Atonal Vol. 3 marks the festival's first release since 1984, and features recordings from the 2014 edition with Cabaret Voltaire (who appeared live for the first time in 20 years), Abdullah Rashim, Miles Whittaker, and Fis. Previous installments in the series collected tracks from the likes of Psychic TV, La Loora and Z'EV.

Berlin Atonal Vol. 3 is due for a triple-vinyl release limited to 700 copies, and its complete tracklist can be found below.

01. Cabaret Voltaire – Microscopic Flesh Fragment
02. Cabaret Voltaire – Universal Energy (Live Version)
02. Miles Whittaker – Vagabond No7
04. Fis – Dist CL (Atonal Version)
05. Abdulla Rashim - Untitled
06. Abdulla Rashim - Untitled

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Ipman Announces Debut LP, Depatterning http://www.xlr8r.com/news/2015/08/ipman-announces-debut-lp-depatterning/ http://www.xlr8r.com/news/2015/08/ipman-announces-debut-lp-depatterning/#comments Fri, 14 Aug 2015 18:54:15 +0000 http://www.xlr8r.com/?p=99327 After two years of recording, Jack Gibbons (aka. Ipman) is ready to release his debut LP, Depatterning, via the Bristol-based label Tectonic.

Unlike a lot of electronic producers, Ipman has decided against living in an urban environment and resides in his rural hometown of Herefordshire where he managed to craft the LP while “embracing the luxury of isolation.” Heavily influenced by jungle and techno, Gibbons forged his unique sound by staying true to his experimental mindset and relentlessly modifying the synths, drum machines, and various pieces of hardware that reside in his sonic laboratory.

The various sounds, textures, and colors of the album run wild but come together in a harmonious fashion to create a truly noteworthy release. You can view the track "Gravity" from his forthcoming LP below, and order a copy of Depatterning on Tectonic’s website here.

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Tone Of Arc Announces New Album on Om Records; Stream Lead Single Now http://www.xlr8r.com/news/2015/08/tone-of-arc-announces-new-album-on-om-records-stream-lead-single-now/ http://www.xlr8r.com/news/2015/08/tone-of-arc-announces-new-album-on-om-records-stream-lead-single-now/#comments Fri, 14 Aug 2015 17:14:05 +0000 http://www.xlr8r.com/?p=99326 Tone Of Arc make its Om Records debut with "The Best Place to Fall," the lead single from the duo's upcoming full length, 'Urgent Turquoise'—which will see release in the fall.

Rooted in Tone Of Arc's signature punk funk style, "The Best Place to Fall" is a beautiful slice of dub-infused electronics, complete with Derrick Boyd's famous, crooning vocals and the pair's infectious vibes. The single also lands with a cover of Spandau Ballet’s "Chant No. 1" on the b-side, capping off a brilliant debut single for Om records.

You can stream both sides of the single in full below.

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Premiere: Hear a Track From North Lake's Two Headed Beast EP http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-north-lakes-two-headed-beast-ep/ http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-north-lakes-two-headed-beast-ep/#comments Fri, 14 Aug 2015 16:29:08 +0000 http://www.xlr8r.com/?p=99314 Michigan DJ and producer Isaac Delongchamp (a.k.a. North Lake) has dropped a new four-track EP on Romanian imprint Origami Sound.

Two Headed Beast follows releases on Ellum, Permanent Vacation, and Phonica, and finds Delongchamp trading in the kind of deep and eerie sounds he has made his name on. B-side cut "White Lodge" personifies this sound perfectly; driven by razor-sharp percussion, Delongchamp using otherworldy pads to glue things together, slowing melting the pads in and out of each other, creating an engrossing, ghostly atmosphere for the listener to explore.

Two Headed Beast was released on vinyl on July 20, with the digital set to drop on August 24. Ahead of that digital release, "White Lodge" can be streamed in full below.


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Tecs Evergreen “Skyline Drive” http://www.xlr8r.com/mp3/2015/08/tecs-evergreen-skyline-drive/ http://www.xlr8r.com/mp3/2015/08/tecs-evergreen-skyline-drive/#comments Fri, 14 Aug 2015 15:07:18 +0000 http://www.xlr8r.com/?p=99278 Hailing from NYC, Tecs Evergreen is set to release his second full length LP, If Only Then, via San Francisco based imprint Dusty International. In anticipation of this release, the Brooklyn-based producer has offered XLR8R LP cut “Skyline Drive” as an exclusive download. Kicking off with a repetitive, feathered guitar riff, the track rolls beautifully into an outburst of rich textures, rolling percussion, and stirring bass tones. The LP itself is exceptionally fluid, emitting a cloudy downtempo vibe that builds and dissipates in a unique and unrestrained fashion. “Skyline Drive” can be downloaded for free below and be sure to check out other releases from Tecs Evergreen and Dusty International here.

Skyline Drive

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Q&A: Siren's Darshan Jesrani and Dennis Kane http://www.xlr8r.com/features/2015/08/qa-sirens-darshan-jesrani-and-dennis-kane/ http://www.xlr8r.com/features/2015/08/qa-sirens-darshan-jesrani-and-dennis-kane/#comments Fri, 14 Aug 2015 13:00:51 +0000 http://www.xlr8r.com/?p=99245 Want to peruse a couple of great curricula vitae? Here you go: Darshan Jesrani is one half of Metro Area, the hugely influential duo that, back in the late '90s and early '00s, did as much as any other entity to muscle the concept of electronic-disco revivalism into clubbers' consciousness via such still-vibrant tracks as "Miura" and "Orange Alert." He's a fabulous spinner, too, as well as a talented solo artist, most recently working under the Cylinder moniker for his own Startree label. Dennis Kane, meanwhile, has been an integral part of NYC’s nightlife since the mid-'90s, when the Philly transplant hit town and established himself in the scene as one of its most knowledgeable DJs and producers. He’s also established a pair of respected record labels in Disques Sinthomme, which has released a wide range of work featuring the likes of Max Essa, the Beat Broker and Richard “Padded Cell” Sen, and an edit imprint, Ghost Town, which has seen contributions from Brennan Green and Bicep, among many other notables.

Given all that, you'd figure that if Jesrani and Kane teamed up, the results would be killer. Even so, not many people were prepared for "Gauntlet," produced by the duo under the Siren name and released late last year on the venerable German label Compost Records. Compost is most known for its jazzy inclinations—it's released music from the likes of Trüby Trio and Beanfield over the years, and counts Jazzanova Compost Records among its sublabels—but "Gauntlet" was a different beast entirely: The song, infused with live musicianship, was epic in scope, a windswept and dramatic tune that conjured up images of sun-baked adventures and infinite vistas. (Its slightly-more-housey Ray Mang remix was pretty nifty, too.) And now, there's "A/Way," an equally ambitious tune coming out on August 28; a radio edit, which led off Compost's recent 20th-anniversary compilation, is already in the digital shops. And the two aren't done yet: There are more singles on the way, along with a remix for Galaxians and another for pairing of In Flagranti and Jonny Sender—and there's full-on Siren album in the pipeline as well. XLR8R recently had the chance to chat with Jesrani and Kane as they took a break in the studio, where they talked about their history, their musical ethos…and knee socks.

You two started DJing together long before you started producing together, right?
I met Darshan when they installed the Funktion-One sound system at [the long-since closed] APT, and he and I came in to EQ it. We started playing records to test the system, and ended up going to lunch afterwards and hit it off. Someone suggested we do a night together at [the also defunct] Opus 22—which we did, and it was a really good night.
Jesrani: And then the second time there wasn’t. (laughs)

Despite that second night, you obviously must have enjoyed playing together, since you've continued to do so over the years.
Jesrani: For sure. After that, we started playing at Love. The sound system there was great.
Kane: But we were frustrated with the club itself, so we finally just said, “Why don’t we throw our own party?” Those were the Strobe Lodge parties. The first one we did was on Canal Street around 2007, and that was a pretty memorable party.
Jesrani: Dennis actually bought an AC for the place and installed it. Otherwise, it would have been hell! I was coming in from Belgium that day—and I came straight from the airport, took a shower in the place’s bathroom, and then started the party and played.
Kane: Even with that air conditioner, steam was coming off of people’s bodies. It was packed.

Sounds like a great party.
Jesrani: Yes, that was a good one.

How would you describe the music that you were playing then?
Jesrani: I would say it was the template for what we still do now. Dennis, in the beginning of the night, would play all this really sweet and easy stuff—really slow, sometimes beatless music.
Kane: We’d take our time building the night by using a sophisticated palette. We’d let the room warm up, and then slowly build to a really intense period. We were mixing everything, but in an order that made sense.
Jesrani: And it ended up really, really nice.

You ended up doing Strobe Lodge in a few different venues, right?
Kane: We did it in a variety of places. We did it in a ballroom-dance studio on Mott Street; we did it in an old burlesque place; we did it in an onetime printing place in Bushwick; we did a couple at a nice poolside in Long Island; and we did one on the main floor of Santos Party House.

That’s a lot of places!
Kane: It helped that we had a crew of people who really worked hard with us. A lot of them are still with us. We were able to craft something that was really warm and complex, musically, and that was a great thing.

Photo: Anastasia Crisis

Photo: Anastasia Crisis

While you were doing Strobe Lodge, were you thinking about producing together as well?
Jesrani: That just kind of happened. We’d always talk about music and about production ideals. Dennis would always send me clips of music, and we’d sort of take it apart and talk about what we liked in it. We started doing some edit stuff, but we didn’t really go fully into the studio, composing from scratch, till a little later. It took some time to germinate, but I think it helped to let it just let it develop organically rather than to force it. Siren has grown out of a musical rapport.

Kane: After I started Disques Sinthomme, Dar gave me an edit for the label, and then we did an edit together for Ghost Town. And somehow from that, it just became, hey, why don’t we start a few things? I came in with a couple of melodies, and we started fleshing them out. And we’ve been at it ever since.

The Siren tracks so far seem to have an epic, windswept feel to them. Is that something that you’ve been striving for, or is it just the natural result of your work process?
Jesrani: I couldn’t really tell you! That sort of feeling isn’t really part of my usual wheelhouse, as you can tell from my solo work. I think it might be that something that Dennis brings to the table…or something that arises from the two of us working together. It’s probably a mix of Dennis’s contributions, the work of our session players, and then maybe my synthesizer stuff.

Kane: I can definitely see in that cinematic intensity in tracks like “Ledger” and “Night Fever.” But I think the main thing with Siren is that we started working with really good players, which kind of opened up that intensity.

Was it your intention to work with live musicians from the start, or is that something you decided on once you got more fully into the process?
Jesrani: We knew we wanted to work with musicians from the start. Dennis would be sending me clips off of 45s or whatever, songs that had real songwriting and real musicianship, saying that “I want to do that. And, of course, there’d be no way to simulate that.

Dennis, can you recall any of that music that you sent his way?
Kane: I remember one very clearly: It was the bass part off of a Petulia Clark record. We did try to work on that ourselves, but because we know a great bass player, Mark Dann, we went to him.

Jesrani: Our records would not be the same without him.

Sal Principato from Liquid Liquid plays percussion, right?
Kane: He’s a friend, but the first time I really worked with him was on the remix of Cosmic Metal Mother. He came in, had rehearsed already, came in and finished his parts in one take. It’s very easy to work with him. And there’s Daniel Chavis, who sings on “Guantlet”—I had put out a track from his band, Apollo Heights, on Disques Sinthomme. I remember being so impressed the first time I heard him sing with the band. Darshan, I can remember telling you that right away.

His vocals on that song are amazing.
Kane: There was a point where we actually thought it was done, and then our friend Brennan Green said, “Hey, why don’t you add a vocal?”

Jesrani: That was a real eleventh-hour change. We almost had the song mastered at that point.

Kane: We had definitely done the final mixdown. But the amazing thing was that Daniel just came in and just nailed it.

Jesrani: It was another one-take situation. He was perfect.

What’s the story with Mr. Reed, the vocalist on “A/Way”?
Kane: We had originally written it with a more established singer in mind, but there were some scheduling issues with that. But then I was in the subway and heard this man singing—it was Mr. Reed. I sent Dar a not the next day, saying “We’ve got a singer.” He’s terrific, and his vocals on “A/Way” are stunning.

I read a review of “Gauntlet” which described it as “macho acid disco sleaze.” Would you agree with that description of the Siren sound?
Jesrani: (laughs) Actually, that’s cool. We want the music to be visceral, and it should have layers of enjoyment. We want people to be able to enjoy it on a sophisticated muso level, and we want them to be able to enjoy it in other ways as well.

How did you end up on Compost? It’s not an odd choice of labels, but perhaps a bit of surprising one.
Kane: It was in 2011, and we were in Miami. Tomas (Ceddia) from Aquabooty asked us to play this epic party. It was DJ Harvey, Aeroplane, a bunch of other people—and then we closed it out.

Jesrani: We were hanging with (Compost founder) Michael Reinboth.

Kane: And he just said, “If you guys ever do anything, let us know.

Jesrani: He was really into what we were playing. Then, when we were getting started with Siren, we were wondering who to shop the project to. We realized Compost might be a good fit.

Kane: So far, it’s been very good. They’ve been supportive, and they’ve been behind the music a great deal. They’re professionals, and we have a great working relationship—it’s nice to send them an e-mail and actually get an e-mail right back, for instance. And they like and are supportive of the idea that we’re working towards an album. I think it’s a case of we’re what they need, and they are what we need, so it works.

"There’s a glut of stuff that all sounds the same nowadays—it seems like there’s a certain paradigm that ‘s kind of taken over—and we think it’s time for music with some nuance and some complexity."

Who do you envision your audience to be? Your tunes have a bit more of mature edge than your average club banger has.
Kane: I’m thinking 16-year-old skater girls and guys in muscle shirts!

Jesrani: Or girls that wear knee socks.

Kane: Yeah, that’s our music in a nutshell. (laughs). But really, it’s hard to say—it’s hard to make songs that are dance songs, that will bump on the floor, but also have strength of songs.

I’m guessing it’s a difficult balance to get right.
Yeah, totally. I’ve always like clubby music that you can enjoy as a stand-alone piece of music outside of the club environment, and that’s what we’re trying to shoot for.

Kane: We look at people like Don Ray is a good example of the kind of thing we’re shooting for. But the other thing is that there’s a glut of stuff that all sounds the same nowadays—it seems like there’s a certain paradigm that ‘s kind of taken over—and we think it’s time for music with some nuance and some complexity.

Jesrani: People keep repeating the same forms of loop-based music. For instance, right now were in the third or fourth iteration of acid. (laughs) But we feel like you have to at least try to grow, try to do something new.

Kane: There’s been a real period of contentment with these tropes—the sound palettes, the attack, the build-ups and all that. It’s all pretty much the same. Sometimes it can be tasteful, some of it’s well-made, but in the end, it doesn’t feel very urgent or essential.

And Siren’s goal is to make music that is essential and has some staying power?
Jesrani: Absolutely. We’d actually feel bad about committing all the resources we have for Siren, just to make something that people might play a couple of times and then just shelve.

Kane: We don’t want to have that kind of manipulative with an audience, either as DJs or producers. I was somewhere the other day, and there was this DJ, and I felt like going up to him and asking, “Why even bother? You’re playing all these clichéd records—none of which are bad, exactly, but it seems like your only motivation is to make yourself famous.” Fuck that! Give people art. But still make it something that girls in knee socks can get down with.

"A/Way" is available for preorder through iTunes here.

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Premiere: Hear a Track from the New Album by Radio Citizen http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-the-new-album-by-radio-citizen/ http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-the-new-album-by-radio-citizen/#comments Fri, 14 Aug 2015 09:25:14 +0000 http://www.xlr8r.com/?p=99310 Radio Citizen, the project of Munich based Niko Schabel, has readied an album for Sonar Kollektiv. The Night & The City is an album that seems tailor-made for the label: A melange of genres which deploys live instruments on an equal footing with samples and herewith becomes a highly explosive mixture of latin percussion, funk, poppy dub, moody, folky soul, Afrobeat, ethno-jazz, Bossa Nova, Hiphop und blaxploitation soundtracks.

Schabel's fist two LPs (Berlin Serengeti and Hope And Despair) came out on the San Francisco imprint Ubiquity Recordings and now, five years later, he returns with his combo to the haven of his hometown.

Schabel is a so-called musician's musician who can play anything from woodwinds to keyboards and percussions, as well as of course the MPC sampler by Akai like hardly anyone else. On top of that he apprehends expertly how to work with all kind of different musicians and how to form out of many influences, individual pieces and styles of genres a coherent entity bigger than its separate parts.

Ahead of the EP's September 18 release, "Radio Days" can be streamed in full below.


01. Shores
02. Clouds
03. Radio Days
04. Peace
05. Rise
06. Trip
07. Phone
08. Sleep
09. Last Delight
10. Near and Far
11. Schatten
12. Stars
13. Gute Nacht

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Ghost Feet "Doom" http://www.xlr8r.com/mp3/2015/08/ghost-feet-doom/ http://www.xlr8r.com/mp3/2015/08/ghost-feet-doom/#comments Thu, 13 Aug 2015 21:25:17 +0000 http://www.xlr8r.com/?p=99254 Ghost Feet is a multi-instrument, experimental band lead by atmospheric producer duo Hobbess (a.k.a. Calvin Erdal) and Qloq (a.k.a. Rachel Dubuc). The last time we heard from Ghost Feet was back in 2011 when XLR8R debuted the exclusive download of its track,"Bog." The band crafts various sounds from keyboards and drum machines as the backbone for its tracks, while also using field recordings, heavy sampling, re-sampling and fx processing to craft its ethereal sound. Now the act has announced the release of its debut album, Together Alone, on the steady releasing Pacific Northwest label collective Dropping Gems. The album date is set for August 21, and features seven original tracks that will be issued in a cassette format as well as digital.

Together Alone is available for pre-order right now on the Dropping Gems Bandcamp and you can find it by clicking here, with "Doom" available as a free download below. 


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Matthew Herbert's Forthcoming Album Is a Book with No Music http://www.xlr8r.com/news/2015/08/matthew-herberts-forthcoming-album-is-a-book-with-no-music/ http://www.xlr8r.com/news/2015/08/matthew-herberts-forthcoming-album-is-a-book-with-no-music/#comments Thu, 13 Aug 2015 16:14:04 +0000 http://www.xlr8r.com/?p=99067 Matthew Herbert has a new album coming out except the "album" won't in fact have any music. Instead, the visionary artist will be describing the different sounds that would ordinarily be a part of the record. This upcoming project will be released in the shape of a book titled: The Music.

As Herbert himself explains: "For my next record, I will write a description of the record rather than make the music itself. It will be divided into chapters in the same way that an album is separated into tracks. This is that book." He continues, "Each chapter will describe in precise detail what sounds to use, how they should be organised and occasionally an approximation of what the net result should sound like. Crucially it must be able to be recorded for real given enough time, access and resources. However, I will never make the record. It will always just be a description of the music itself."

The artist hopes this project will serve as a type of "sound manifesto" wishing to "challenge how we think about music, sound and of course, how we hear the world itself."

A crowd fund has been set-up in order to support The Music. 

To read an excerpt of it, or find more information about the project, head here.


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Weekly Selections: DGTL Barcelona, Berlin Atonal, Octopus http://www.xlr8r.com/news/2015/08/weekly-selections-dgtl-barcelona-berlin-atonal-octopus/ http://www.xlr8r.com/news/2015/08/weekly-selections-dgtl-barcelona-berlin-atonal-octopus/#comments Thu, 13 Aug 2015 15:40:10 +0000 http://www.xlr8r.com/?p=99141 The Amsterdam based festival DGTL will launch it's first Barcelona edition this Friday and Saturday, showcasing 40 artists across three stages with names like Ben Klock, Dixon, Marcel Dettman, John Talabot, George Fitzgerald and Adam Beyer. Known for it’s total concept of music, art and sustainability, the theme for the inaugural year is Revolution in Barcelona which will focus on a full recycling program for plastic waste during the event.

The world class innovative experimental arts and music festival that is Berlin Atonal kicks off Wednesday next week. Taking place again at the Kraftwerk cathedral with aftershows at Tresor, OHM, and other venues around town, one can catch performances such as Ugandan Methods (Regis + Ancient Methods), Outside The Dream Syndicate (Tony Conrad with Faust), Ben Frost presents A U R O R A (with MFO), and at the aftershows at least another 50 or more mostly A/V shows.

On Saturday at Brooklyn's OutputDanny Krivit plays an open to close afternoon set on The Roof for the last time this summer, and at night Danny Tenaglia takes over the main floor while the Panther room is hosted by Octopus label night with Sian and Layton Giordani.

To search events in your city or to submit your own, visit www.xlr8r.com/events




Flash - Washington, DC, US

TBA Thursdays w/ Ray Zuniga + Carlos Chiesa

TBA Brooklyn - Brooklyn, NY, US

Music Is The Answer | Stacey Pullen

Cielo - New York, NY, US

INPUT | Lovers Rock Showcase with Vessel/ Ital/ Aurora Halal/ Earthen Sea/ Damon Eliza Palermo

Output - Brooklyn, NY, US

The Magic Number | Rich Medina (Open to Close) in The Panther Room



Studio 80 - Amsterdam, Noord-Holland, Netherlands


DGTL Barcelona

DGTL Barcelona 2015

Parc Del Forum - Barcelona, Spain


Mural Amphitheater - Seattle, WA, US

SHIFT - DonMonique (Live)

Output - Brooklyn, NY, US

SUM Locale 01

TBA Brooklyn - Brooklyn, NY, US


Flash - Washington, DC, US



Leon Vynehall

Bar Standard - Denver, CO, US

Framework presents John Tejada (Adjunct Audio 10 Year Anniversary)

Sound Nightclub - Hollywood, CA, US

Arthur Oskan [Cityfox /My Favorite Robot / Thoughtless] at Do Not Sit On The Furniture


James Murphy VS Eric Duncan at Output

Output - Brooklyn, NY, US

Prototype 017: Plastic Love with Matthew Dear, Kenny Larkin, Maheras & Bas at LOT 613

LOT 613 - Los Angeles, CA, US

SOUP NYC | Jesse Rose/ Love & Logic/ Roddy & Rusty/ Path

Cielo - New York, NY, US

The Great Escape

Studio 80 - Amsterdam, Noord-Holland, Netherlands

FABRICLIVE 14.8 w/ Daniel Avery Presents Divided Love & Soul:ution

fabric - London, London, United Kingdom


Arena Club - Berlin, Germany


Berghain/Panorama Bar - Berlin, Germany


Ben Pearce

TheHundred Presents - Ben Pearce (Daytime Rooftop Party)

Club Vinyl - Denver, CO, US

TBA Saturdays w/ Pjay & Friends

TBA Brooklyn - Brooklyn, NY, US


Flash - Washington, DC, US

TheHundred Presents - Chris Lorenzo

Club Vinyl - Denver, CO, US

Octopus Label Night

Output - Brooklyn, NY, US

Saeed Younan at Do Not Sit On The Furniture


Paul Kalkbrenner

Unnamed Venue - Brooklyn, NY, US

Treasure Fingers at Cielo

Cielo - New York, NY, US

fabric 15.8 w/ Scuba, Neil Landstrumm Live, Marcel Dettmann & Ron Morelli

fabric - London, London, United Kingdom

Studio 80 invites M>O>S Recordings

Studio 80 - Amsterdam, Noord-Holland, Netherlands


://about blank - Berlin, Berlin, Germany

O-TON 10

Berghain/Panorama Bar - Berlin, Germany


Sonus Fest

SONUS Festival 2015

Zcre Beach - Croatia, Croatia (Local Name: Hrvatska)

Hojilicious Panda Lounge Day Party

Public Works SF - San Francisco, CA, US

Piknic Electronik

Parc Jean-Drapeau - Montreal, QC, Canada

Dirtybird BBQ Brooklyn

Brooklyn Waterfront - Brooklyn, NY, US

After the Park w/ Dj Scotto

TBA Brooklyn - Brooklyn, NY, US

Sunset Sound System Summer Boat Party!

The San Francisco Spirit - San Francisco, CA, US


Smartbar - Chicago , IL, US



Nextfest:Mistress America, Sky Ferreira

Ace Hotel - Los Angeles, CA, US


Anti social Tuesdays

Anti-Social Tuesdays

TBA Brooklyn - Brooklyn, NY, US

Extra Dark

Kung Fu Necktie - Philadelphia, US


Berlin Atonal

Berlin Atonal 2015

Kraftwerk - Berlin, Germany

Morning Gloryville SF ~ Bring Back the 80's Edition!

Unnamed Venue - San Francisco, US

Living The Dream | Timo Maas on The Roof

Output - Brooklyn, NY, US

Clinic with My Favorite Robot (My Favorite Robot) & Guests

Couture - Hollywood, CA, US


Studio 80 - Amsterdam, Noord-Holland, Netherlands


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RPR Soundsystem and Surgeon Headline ADE Dockyard Festival http://www.xlr8r.com/news/2015/08/rpr-soundsystem-and-surgeon-headline-ade-dockyard-festival/ http://www.xlr8r.com/news/2015/08/rpr-soundsystem-and-surgeon-headline-ade-dockyard-festival/#comments Thu, 13 Aug 2015 12:09:55 +0000 http://www.xlr8r.com/?p=99087 Dockyard Festival is set to open its doors on October 17, featuring five stages in Amsterdam's raw and industrial NDSM-Werf in Amsterdam-Noorde. The brick, smokestack environment of the festival provides a one of a kind atmosphere that will feature a plethora of impressive DJs.

In association with ADE Festival, the second edition of the Dockyard Festival will feature RPR Soundsystem, Paco Osuna, Paul Ritch, DJ Rush, Surgeon, Monika Kruse, and The Advent. For more information regarding location, tickets, and full lineup, you can head here.


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Premiere and Interview: Stream a Track from Helena Hauff's Debut Album http://www.xlr8r.com/news/2015/08/premiere-and-interview-stream-a-track-from-helena-hauffs-debut-album/ http://www.xlr8r.com/news/2015/08/premiere-and-interview-stream-a-track-from-helena-hauffs-debut-album/#comments Thu, 13 Aug 2015 12:03:58 +0000 http://www.xlr8r.com/?p=98943 Helena Hauff will release her debut solo album via Werkdiscs / Ninja Tune on September 4. Titled Discreet Desires, it’s the most in-depth summation of the Golden Pudel resident DJ to date.

Making her recording debut just two years ago in 2013, Helena’s first release was a three-track EP – Actio Reactio - on Actress’ Werkdiscs imprint. She has since partnered with PAN (as Black Sites alongside F#x), Lux Rec, Bunker sublabel Panzerkreuz and Texan cassette imprint Handmade Birds to share her overtly analogue excursions into techno’s shadowy fringes, improvised and recorded in her bedroom studio in Hamburg.

Fully embracing her love of hardware, Helena joined James Dean Brown’s legendary electronic improv outfit Hypnobeat (founded back in 1983) in 2013, blazing a trail across Europe with their intense polyrhythmic jam sessions on the TB-303, TR-707 and TR-808.

“I have the feeling it’s more one-to-one—you do something and then the machine reacts. The machine has its own mind too, so it gives something back.”

Ten tracks deep, Discreet Desires is the embodiment of Helena’s deep-seated beliefs about music as a radical force and unifying movement. Something that is evident from her growing stature as a selector and her enthusiasm for musical subcultures from punk to nu wave, industrial, krautrock and avant garde electro—all of which were rooted in raw experimentation and existed in polar opposition to the perfect, polished mainstream.

Ahead of the album's September 4 release date on 2LP/CD/Digital, XLR8R spoke with Helena to learn more about the release, while "Spur" can be streamed in full below.


01 Tripartite Pact
02 Spur
03 Sworn to Secrecy Part I
04 L'Homme Mort
05 Funereal Morality
06 Piece of Pleasure
07 Tryst
08 Sworn to Secrecy Part II
09 Silver Sand & Boxes of Mould
10 Dreams in Colour

As your debut album, it’s fair to say that there is a lot of anticipation surrounding Discreet Desires. Do you feel any pressure?
No! It's done and that's it. I can't change anything about it now anyway and I'm happy with it, so there's no point worrying. Of course I want people to enjoy it and I'm pretty sure some people  will, but obviously not everyone—but that's fine.

The album comes just two years after your first material on PAN and Werkdiscs in 2013. Did you actually have an intention to create an album or did it just materialize?
At first I didn't think about making an album but once I had the first couple of tracks ready I kind of like knew that it needed to be a full length.

How long did it take to produce? 
It took me about half a year to produce the album. But I didn't work on it on a daily basis—most of the tracks came together in a 2-3 week period.

Did you work in on track by track did you find yourself working on several tracks at the same time?
I never work on several tracks at the same time. I start off with something and take it from there and either finish it or dump it.

You’re known for your love of hardware production. What machines did you use?
I mainly used my 808, 707, Juno 60 and Alpha Juno 2.

There is far more to an album than just shoving 10 tracks together and putting it out. Is there a particular concept or inspiration behind Discreet Desires?
Well, there's this picture that I took several years ago and I wanted to use it as a cover for a record. I had a certain sound in mind that I thought would capture the atmosphere of the picture. I actually didn't end up using it because I found a different one that seemed to fit even better. But working with this photo as a guideline really helped me stay focused.

The track listing is especially important in conceptual albums. Is this something you thought about considerably?
It is important but it seemed pretty obvious to me how they would fit together. I think being a DJ seems to help with that actually.

Is there anything behind the name Discreet Desires?
Yes and no. Firstly it sounded great to me, secondly it means something to me but I can't really explain it.

Discreet Desires is now available for pre-order here

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Dax J Announces First Solo LP http://www.xlr8r.com/news/2015/08/dax-j-announces-first-solo-lp/ http://www.xlr8r.com/news/2015/08/dax-j-announces-first-solo-lp/#comments Thu, 13 Aug 2015 10:51:36 +0000 http://www.xlr8r.com/?p=98916 Dax J has announced the release of his first solo LP Shades of Black, set to drop on October 30. The album is to be released via his personal and well renowned London-based techno label, Monnom Black.

Having started his DJ career at the early age of 15, and starting off on pirate radio stations in his youth, Dax J has gained international recognition touring all over the world, playing at clubs and events such as Berghain and Glastonbury Festival. The London-born, Berlin-based artist’s hard hitting techno album draws influence from a variety of genres (UK rave, jungle, acid, drum & bass) that have influenced him over the years. Dax J's dark, prevailing sound and 4 by 4 production mirrors his love for the underground, a love that has followed and guided him to new and exciting places both physically and musically.

Ahead of its release in October, you can also check out the the video teasers for his LP in the video below; along with the tracklisting.


1. Orloks Symphony
2. Beyond the Planets
3. Renegades of Conflict
4. Devine Right
5. In the Shadows
6. Protect the Prophecy
7. Requiem Souls
8. Black Pegasus
9. Sempa
10. Afterlife

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Decibel Announce 2015 dB Conference Panels http://www.xlr8r.com/news/2015/08/decibel-announce-2015-db-conference-panels/ http://www.xlr8r.com/news/2015/08/decibel-announce-2015-db-conference-panels/#comments Thu, 13 Aug 2015 10:00:56 +0000 http://www.xlr8r.com/?p=99117 If you are looking for a festival in the states that has a rich history of in-depth discussion panels on music technology and hands-on learning,  you have to search no further than the long running art and technology festival, Decibel. Now the Seattle-based festival has announced that it's secured the first round of sponsors and guests for its annual technology and music showcase, dB Conference. The festival also announced that they will be partnering and co-producing the program with online education company CreativeLive.

The dB Conference will take place this year on September 23-25 at The Crocodile. This year’s conference program will feature three days of  workshops, seminars, demo booths, artist talks and panels, all free of charge. This year's dB Conference partners include XLR8RRed Bull Music Academy, Native Instruments, Resident Advisor, Ableton, Elektron, Livid Instruments, Rane, Soulection, Ghostly International, Scratch DJ Academy and many more to be announced.

You can check out a teaser video for this years dB Conference, and for up-to-date information and activities surrounding the dB Conference, please check out the Decibel Facebook Event Page.

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Interview: Answer Code Request http://www.xlr8r.com/features/2015/08/interview-answer-code-request/ http://www.xlr8r.com/features/2015/08/interview-answer-code-request/#comments Thu, 13 Aug 2015 06:00:36 +0000 http://www.xlr8r.com/?p=98963 Patrick Gräser’s story has been well documented: Growing up in the small German town of Fürstenwalde, he moved to Berlin in 2001 to pursue a career in electronic music after being inspired by his elder brother. Despite many years dabbling in production and DJing around the city, it was only when he discovered the ambient sound that he had long sought to produce and released 2011’s Subway Into EP under the anonymous Answer Code Request moniker, that music really became his profession.

It has proven to be a rapid rise for Gräser, the EP providing a launching pad for his growth as an artist and kick-starting a journey that has seen him become both a Berghain resident and one of the finest DJ-producers in the world today. Though his story may be known, it was only by sitting down with Gräser in his beautiful Berlin apartment to discuss this sonic vision, to reflect on the consequences of his artistic growth and hear his plans for the future, that the nature of his story became truly apparent.

The discussion begins on the sound that Gräser has made his own. Carving a sonic identity in a heavily populated market is no easy feat in the modern day, but through a deep-rooted desire to produce something different and a steady process of experimentation, Gräser has achieved just that. While founded upon the contemporary industrial Berlin punch, his catalog of dark and gloomy productions is laced with the broken-beat and dubstep tones showcased in his earliest musical works, fundamentally techno but so easily identifiable with the Answer Code Request alias.

Photo: Sven Marquardt

Photo: Sven Marquardt

Experimenting with a number of house-orientated releases in 2008 under his own name, Gräser became increasingly unsatisfied with his output. “I was not happy to work with that sound. I always wanted to produce something different—something that wasn’t already out there because I am bored with these basic four-to-the-floor patterns.” It was this craving that pushed him to work tirelessly in the studio, determined to develop the unique sound that he could so vaguely envisage in his mind. “I have always had this blurry vision of the sound I wanted to produce but I just couldn’t find a way to produce it,” explains Gräser. “There was no real clarity but somehow I just knew that it existed. Over time, I explored this vision in the studio and it became more and more defined in my own head,” he continues.

“I really struggle to produce dancefloor music,” explains Gräser. “I have tried many times, but I can only produce these more ambient tracks.” he adds. “I have always switched my sound, and "Escape Myself" was the first time I successfully combined all these influences. I immediately felt better because I was being true to myself.”

Inspired by his breakthrough, Gräser further explored the sound he had so patiently pursued, following "Escape Myself" with a number of new tracks in quick succession—three of which found their way into Subway Into, the debut release under his Answer Code Request alias. “We really didn’t expect it to be such a success,” recalls Gräser, in reference to the fact that it sold out within just weeks of it hitting the shelves of Berlin record store Hard Wax on September 16, 2011. “There was a great reaction to the whole EP, but "Escape Myself" was the track that was the most well received.”

A fundamental aspect of the EP’s success was its enigmatic nature. Not only was Answer Code Request the moniker of choice for the then unidentified producer behind it, it was also the name of the imprint, a sub-label to Marcel Dettman’s MDR that had been founded specially for this the EP. “It felt like something special, and we wanted people to focus on the music instead of who produced it,” explains Gräser. “I think also that we were not sure whether people would like it because it sounded very different. It just made sense to keep it a secret project at first.”

The acclaimed EP was more successful than either Dettmann or Gräser could ever have anticipated. An instant buzz surrounded its release, with speculation rife as to just whom was behind the mysterious and genre-blending 12-inch. “I remember being in Panorama Bar when Marcel was playing "Escape Myself,"” recalls Gräser. “People were asking me what the name of the track was and I couldn’t tell them that it was my track because it was still a mystery. I had to tell them it was just one of Marcel’s friend’s tracks!”

The defining moment came just six months later when Chris Liebing revealed Gräser to be the much sought-after architect following a CLR podcast. “I had so many messages on Facebook,” explains Gräser. Following a pair of 12-inches on the MDR imprint, it was then decided that the Answer Code Request project was to become permanent. "That is when people started to really recognize the music,” explains Gräser. “I decided to continue producing under Answer Code Request because I wanted a completely new start. The birth of the project was a new platform for me. It was a sign that I was ready.”

The impact of the Answer Code Request project on Gräser’s career is remarkable—but there is a humility to Gräser’s character, a trait that can so easily vanish given such rapid and far-reaching success. “My life changed so quickly, and I have to remind myself not to think about myself too highly,” says Gräser, candidly. “Before Answer Code Request I wasn’t even sure that I could make a career out of music, and I was looking to go into a normal job,” he explains. “I thought many times about quitting music altogether—but somewhere deep inside I had this overwhelming urge to keep on going, even though my brain was telling me to stop.”

"I thought many times about quitting music altogether—but somewhere deep inside I had this overwhelming urge to keep on going even though my brain was telling me to stop."

As Gräser is keen to acknowledge, focusing so much effort on such an unique sound was a “big risk” because there was no assurance that it would be accepted. “I would then have had to start again, but I think that would probably have been too late for me,” he says. And a key figure in the success of the project has been Marcel Dettmann, the acclaimed German techno stalwart who grew up in the same town and has known Gräser even since they met in the local skate park as children. Encouraged by his friend’s success, Gräser pursued his musical endeavors under Dettmann’s mentorship, liaising closely and sending him demos until Dettmann agreed to form a sublabel on which he would release the Subway Into EP.

“I feel lucky because Marcel gave me the platform on which to be successful,” explains Gräser. “He had always told me that we would work together, but I was never sure that it would actually happen—it always felt like my time was running out,” he continues. “But when he agreed to release the EP, it was the first moment when my music felt like it was coming together. Before this I never felt as if I had found my direction.” Dettmann continues to be a key figure in Gräser’s success, although the relationship has become more balanced. “Marcel is very talented because he can recognize good music even if it is slightly experimental,” says Gräser. “For me, that is invaluable.”

Considered to be one of the world’s leading DJ,s and celebrated for the quality of his releases on leading labels including Ostgut Ton and Marcel Dettmann Records, these are wonderful moments for Gräser. But with such widespread success comes both pressure and expectation, an ever growing burden to which Gräser still finds himself continually adapting. “I definitely feel the expectation nowadays,” he reveals. “My debut album showed me that I belong here, but I still feel pressure with each release because I’m not always sure that it is of the same standard of the work that has come before.”

Another important aspect of Gräser’s adaptation to his recent accomplishments is the development of his sound and management of his image. As well received as their output is, artists today will always be expected to continually push their boundaries in pursuit of new soundscapes. The danger, one of which Gräser is acutely aware, is that through excessive innovation he may either lose the sound for which he has been so widely acclaimed, or alienate his original fan base by pursuing more commercially viable ventures.

“It’s very easy to make mistakes at this level, and so I have to be careful with each decision that I make,” explains Gräser. “I don’t like the hype that can surround musicians today, and I don’t want to become too commercial. But while my motivation has never been money, there is always a temptation to change my style, because I do not know for how long I can make money from music,” he adds. “It’s not always easy to avoid this external pressure so I always try to look back to how I started and focus on making that sound again. With the help of the people at Ostgut Ton, I hope to make the right decisions.”

On the subject of productions, there has been a noticeable hole in Gräser’s discography since the release of 2014’s Code, his stunning debut album on Ostgut Ton. While the focus and commitment required to produce a full-length LP will normally afford artists an extended hiatus from the studio, Gräser reveals that the reasons behind such abstinence are more widespread than just artistic exhaustion.

“Producing is definitely harder for me now,” he explains. “I always used to produce at night because I enjoyed the calmness, but I cannot do that now with the schedule that I have,” he continues. “I also draw great inspiration from the sadness in my own head, and I was a little depressive when I was making the first EPs—but I have struggled to find this emotion recently,” he adds. “I think now that I have refound the feeling. I now feel refreshed and I think I may now be ready to produce once again.”

Despite the success of his productions, Gräser’s real love lies outside of the studio through an endeavor that he first started in as a 13-year-old growing up in Fürstenwalde—and it is this that drives him forward today. “I consider myself to be a DJ—and that has been the case from the very beginning,” recalls Gräser. “It has been there from the very start,” he adds before revealing how he once fell out with his carpentry teacher because he could focus on nothing but music. “He told me to stop carpentry and focus on becoming a DJ,” he says. “That’s when I knew DJing was my thing.”

Questioned upon his plans for the future, Gräser is coy, reluctant to disclose any plans besides a loose intention to release a second studio album. Pausing to taking a sip of his coffee and reflect, he hesitantly reveals plans to both explore further avenues with his DJ sets and develop his live act, a musical offering he started in 2013 on Marcel Dettmann’s recommendation.

“Developing the live set is a priority for me, because playing your own music live is something very special,” explains Gräser. “As a child, my vision was always playing my own music in a live set on a big stage—and this is what I want to grow,” he adds. “But as a DJ, I want to explore more ambient stuff. I want to play techno clubs and also be able to play experimental festivals—this artistic freedom is something that is especially important to me.”

"As a child, my vision was always playing my own music in a live set on a big stage—and this is what I want to grow."

There can be no doubt that Gräser is a leading artist of his generation. While the growth of electronic music has delivered a beautiful abundance of quality music artists, there are only a rare few that can lay claim to be as accomplished as Gräser in both DJing and production. “There are so many who want to do this and I am thankful that I can do it, but at the same time I keep on thinking how long it can go on for,” he says. standing up.

Based on his output to date, it would seem that his artistic legacy has only just begun.

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HORST Festival Shares Teaser Video http://www.xlr8r.com/news/2015/08/horst-festival-shares-teaser-video/ http://www.xlr8r.com/news/2015/08/horst-festival-shares-teaser-video/#comments Thu, 13 Aug 2015 00:04:08 +0000 http://www.xlr8r.com/?p=99118 The second edition of HORST Festival is set to take place in the aesthetically captivating castle of Horst in Holsbeek, Belgium between September 11-12. Tama Sumo, Falty DL, Midland, Tom Trago, Throwing Snow, DJ EZ, Gerd Janson, and a handful of other well known electronic music artists are set to play the festival this year. On top of this, the two-day festival will feature a great deal of visual art and doubles as an opening for two month autonomous art exposition.

For more information regarding the venue, lineup and tickets, you can head here, with the festival teaser video below.


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Premiere: Hear a Track From Moth's Latest EP on Symbols http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-moths-latest-ep-on-symbols/ http://www.xlr8r.com/news/2015/08/premiere-hear-a-track-from-moths-latest-ep-on-symbols/#comments Wed, 12 Aug 2015 23:36:43 +0000 http://www.xlr8r.com/?p=99113 Washington DC DJ and producer Moth is set to release his latest EP, In Transit, via Kastle's always-on-point LA-based imprint Symbols on August 21.

The sprawling eight-track EP takes cues from Moth's inspirations Volor Flex and Burial, but sees the rising producer take things deeper into the urban framework set by his forefathers. In Transit borrows from jungle, garage, and hip hop, but in a twisted, dream-like sense, with Moth sprinkling highly abrasive and percussive field recordings on top of fathoms-deep kick and highly textured atmospherics.

Ahead of its August 21 release, you can stream deep and warped EP cut "Vendor" in full below; along with the EP sampler.

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Poté "Oryx" http://www.xlr8r.com/mp3/2015/08/pote-oryx/ http://www.xlr8r.com/mp3/2015/08/pote-oryx/#comments Wed, 12 Aug 2015 22:36:20 +0000 http://www.xlr8r.com/?p=99084 Opening with a repeated, dance-inducing vocal, London-based producer Poté's "Oryx" make its body-moving intentions clear from the get go. Bookended by its tumbling low end, "Oryx" steamrolls through various vocal chops and rolling percussive flourishes across its near-five-minute run, causing an almost primal need to get up and dance. "Oryx"—which can be downloaded for free below—is the title track of Poté's latest two-track EP, which will be self released via his soundcloud page. With an official remix of Lethal Bizzle's latest single on the way, as well as a track on the upcoming Black Butter compilation, Poté is cementing his name as one of the UK's most promising artists.


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Aphex Twin Releases Two New Tracks From his Upcoming EP http://www.xlr8r.com/news/2015/08/aphex-twin-releases-two-new-tracks-from-his-upcoming-ep-2/ http://www.xlr8r.com/news/2015/08/aphex-twin-releases-two-new-tracks-from-his-upcoming-ep-2/#comments Wed, 12 Aug 2015 19:41:09 +0000 http://www.xlr8r.com/?p=99025 Richard D. James (a.k.a Aphex Twin) will be dropping Orphaned Deejay Selek (2006-2008) in less than two weeks, marking the first release under his AFX moniker in almost a decade.

Preceding the release of the two EP tracks, "Serge Fenix Rendered 2" and "oberheim blacet1b," the elusive producer has now shared two more productions from the upcoming project titled: "Simple Slamming b 2" and "midi pipe1c sds3time cube/klonedrm."

Stream one of the track previews below, along with the tracklisting.

1. serge fenix Rendered 2
2. dmx acid test
3. oberheim blacet1b
4. bonus EMT beats
5. simple slamming b 2
6. midi pipe1c sds3time cube/klonedrm
8. r8m neotek beat

The EP is due out August 21 via Warp.

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Movement Festival Europe Turns 10 http://www.xlr8r.com/news/2015/08/movement-festival-europe-turns-10/ http://www.xlr8r.com/news/2015/08/movement-festival-europe-turns-10/#comments Wed, 12 Aug 2015 14:00:48 +0000 http://www.xlr8r.com/?p=98965 A close relative to the massively influential Detroit Movement Festival, Movement Festival Europe is set to celebrate its 10th anniversary in Turin, Italy this coming Halloween. Featuring over five stages, daytime lectures, and various workshops at multiple locations around the city between 6 p.m. and 6 a.m., Movement Festival Europe is set to transform the city of Turin into a bustling hub for both rising and well respected artists in the world of electronic music.

The lineup is stacked, featuring artists like Alan Fitzpatrick, Matthew Johnson vs. Minilogue, Floorplan (aka Robert Hood), Dixon, David August, Chris Liebing, Derrick May, and Derrick Carter, among many others.

Movement Festival’s prestige continues to spread year after year by maintaining a close sense of community while exploring the spectrum of electronic sounds for all to enjoy. For more information regarding its lineup, venues and tickets, go here.


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Stream Snippets from John Tejada's Latest EP on Palette Recordings http://www.xlr8r.com/news/2015/08/stream-snippets-from-john-tejadas-latest-ep-on-palette-recordings/ http://www.xlr8r.com/news/2015/08/stream-snippets-from-john-tejadas-latest-ep-on-palette-recordings/#comments Wed, 12 Aug 2015 13:00:59 +0000 http://www.xlr8r.com/?p=98834 Way back in early March of 2006, John Tejada released a minimal masterpiece EP titled The End of It All on his own label, Palette Recordings. The original release of this track sold thousands of copies on vinyl, eventually garnering multiple unauthorized covers and imitations from only one official version. The song became recognized as iconic, and since then it's been rinsed and repeated by DJs all over the world. Now almost 10 years later, Tejada will release an updated version of the track on vinyl along with two new works featured on the B side, thus ensuring the track's legacy as one of John Tejada's most valued classics.

The new 2015 mix originated as part of Tejada’s 2015 live hardware set that he has been touring around the globe, which can be seen in our documentary on Mutek Montreal on XLR8R TV. Also originating from his 2015 live performances are the two new B-side bangers “Reactivation” and “Sheven." If you pre-order the release over on Bandcamp, you will also receive three bonus tracks; "Demux," "Almost Now," and "What The Bleep.”

You can listen to a preview of the EP on Soundcloud, and check out John's current tour dates for stops in Canada and Los Angeles, and a live hardware performance at this year's Decibel festival in Seattle as part of the Kompakt showcase, alongside Agoria and Dauwd on Saturday, September 27 at Neumos.

Upcoming Dates:

• Fri. Aug. 14 • Los Angeles • Adjunct 10 Year Anniversary at Sound Nightclub [DJ]
• Sat. Sep. 12 • Calgary • Habitat Sound Living [DJ]
• Sat. Sep. 26 • Seattle • Decibel Festival [live set]

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Q&A: Simon Baker http://www.xlr8r.com/features/2015/08/qa-simon-baker/ http://www.xlr8r.com/features/2015/08/qa-simon-baker/#comments Wed, 12 Aug 2015 13:00:32 +0000 http://www.xlr8r.com/?p=98789 After breaking through with 2007’s “Plastik,” Yorkshire-born, London-based DJ-producer Simon Baker rose to became a leading light within the U.K. house scene. More EPs ensued, released on labels including Sasha’s Last Night on Earth, Ralph Lawson's 20/20 Vision and Get Physical, before he dropped Traces, a well-timed debut album that perfectly captured the maturing talents of a producer on his way to the top of the game. But since then, while his skills as an artist have remained unquestioned, his artistic growth has stalled, impeded by the absence of any clear vision as to the sound he wished to pursue. As evidenced within his ever-growing discography, the minimal techno output of his earlier years steadily evolved into a deeper sound, a change in course that also visited various other house-orientated soundscapes.

It would appear that a line can now be drawn, however. Inspired by the acquisition of a new sampler, Baker has returned to a more European techno sound, a long-considered move that's in evidence with the release of his Chapter One EP and the birth of his BKR Projekt, a title that serves as the basis for both his new imprint and his latest production moniker. Having uncovered his sonic direction, and feeling more inspired than ever, these are exciting times for Baker. His latest release, the excellent three-track Ebony EP, provides a snippet of the stripped-back techno-orientated sound he now wishes to pursue, further supported by a second EP that's scheduled for a September release. To learn more about the inspirations behind the change and explore his plans for the future, XLR8R sat down with Baker in his East-London studio.

Over time, your sound has moved from techno to deeper house-orientated places and everything in between. Judging by your latest work, there seems to have been a sharp shift back to techno. Is this a conscious decision?
Yes. I started of making electro-house in 2004, but the first music that really got people’s attention was a sort of minimal techno sound with “Plastik,” and I kept on following this path for quite a while. But when the minimal thing died out, I sort of went deeper instead of following the techno sound that came in—mainly because I was on 20/20 Vision. They were a house-orientated imprint and this certainly influenced the sound I was making.

Over the last year or two I’ve just found myself liking a tougher sound, and the more I hear this new, so-called deep-house sound the more I want to go to the other end of the spectrum. I am now looking to find that more organic techno sound. I feel massively more confident in this sound, and that’s the direction I want to go now.

When was the decision made to pursue this sound?
I have been thinking about it for a while. It’s certainly not a random decision. The change came about a year ago, when I got my hands on an Elektron Octatrack sampler, and it has completely changed my life. I have always made music with hardware; I have always started out of the box. And then all of a sudden I got this bit of kit, and it's changed the way I produce music. It makes the process so much easier, and has inspired me massively. I’ve chatted to my mates for ages about how I want to change my sound and go back to the techno sound I used to have, and that was the catalyst. I know it’s only one piece of kit, but it gave me that little push that I needed.

Is it fair to say you were a bit tired with the house music that were making before?
Yes—I am not going lie. I was at a crossroads; I had done the deep house thing, I had done the minimal-techno thing and I didn’t really feel the scene that I was in. The gigs I was doing, and the music I was producing, wasn’t really what I wanted to do artistically. I knew I needed a change.

Is that where you want to be, in the European scene?
In my head, I break it down into two different worlds. I see the deep house, Beatport kind of world and then there is the purist, vinyl Berghain-Panorama world. I’ve had stages in both, and I’ve sat in the middle for a while—but now I want to return to the European scene, producing techno and playing in places like Berlin.

Is this how you envisioned it when you first began producing music, or has it become gradually more apparent through experimentation?
It’s become clear by trying things out. I don’t have any regrets about my career but if I could go back I would probably not have ventured around as many different sounds. Some people would say that it’s good to try all these different sounds and push yourself artistically, but I think that if I had stuck to the techno thing from 2007 then I would be in a different place right now.

The danger is that you can alienate your fan base.
Exactly, and that is what I’ve done. But I see it like this: I’ve laid the foundations of a house by making music touching all these different crowds, but at the same time it takes so much longer to grow.

"I’ve laid the foundations of a house by making music touching all these different crowds, but at the same time it takes so much longer to grow."

Do you believe that by trying all these sounds, you’ve also developed your skills as a producer, which will help you now?
That’s certainly the plan. The reason that I ventured around these sounds is because I can get bored very easily. At the end of the day, I am a producer and I always want to make something new.

Your first release on the new BKR Projekt label, the Ebony EP, feels like  a strong representation of this new stripped-back, grooving techno sound. Is that how you see it?
Yes. With the BKR Projekt, I am taking the experience from everything that I have done previously, and this is it for me; I know where I want to be now and I am going to pursue it. I wouldn’t call it a new sound because it’s not completely different to what I have produced before; it is more of a decision that this is the direction in which I wanted to go. I didn’t know where I wanted to be in 2007 so it was hard for me to move forward, but the experiences have given me a direction. It’s taken eight years—but now I know.

That must be very exciting. But are you frustrated that you didn’t know this earlier?
It is very exciting, but there is no blueprint in this industry. There is no map showing you what you must do to be successful or get to where you want to be. People get to where they are via different routes, and I am doing it my way.""

So are you feeling really inspired right now?
Yes. I actually dream about music at the moment! I wake up each morning and go to the studio while I am still in my dressing gown. I’m literally getting goose pimples with the way I am working. I have a real hunger to make tunes. Ideas come to me so quickly and I can see exactly where the tune needs to go. I started producing when I was about 28—I was a late starter—but this is one of the most inspired moments of my career. This is the start of something brand new. You’ve caught me at the start of a new phase of my artistic career.
"I’m literally getting goose pimples with the way I am working. I have a real hunger to make tunes."

This inspiration that you have right now must speed up the production process.
I'm completing tracks in just a couple of days. I really am back, and I am hungry. The tracks on the Ebony EP took about a week to produce. The artwork actually took longer than the tunes!

What's a regular production day like for you?
I am fairly strict with myself in the sense that I try to stick to a routine midweek. I will often go for a run at some point in the morning or do yoga or gym, then I will spend the rest of the day in the studio making music, with breaks for doing emails and stuff. It depends on how creative I feel.

IMG_5048 smaller copy

Why did you only start producing at 28?
I had been DJing in bars and stuff around Leeds for about 12 years by this time. It was actually strange how it started: I was offered a redundancy package from my day job at the time with Norwich Union Insurance. I had been there for eight years but I was desperate to get out. I used to dream about making tunes so I decided to take the redundancy money and run. I sold my house and moved to Leeds, using the cash to set up a small studio and survive for three years while I learned my way around the studio kit. I got signed by 20/20 Vision when I was 30.

Have you had any feedback regarding Ebony?
I actually did a mail out to a bunch of DJ friends of mine mentioning my new direction, and I had such good feedback. A number of leading artists wrote back to me the same day asking for the wav file—or the vinyl. It seems to have touched different worlds: the A-side straddles industrial techno, while the B-side ventures into other scenes, too.

Who do you show your productions to before you release them?
I have a select group of three or four people that I will piss off on a daily basis. I respect their opinions, which is something very important. Two of them are producers while one runs a record label. I take their mixed opinions and pin them together.

The BKR Projekt is both a label and the moniker you are using for your new work?
The project that I am doing now is Simon Baker Presents the BKR Projekt, but the label is called BKR Projekt. It is double branding.

Is the fact that you’ve spelled “Projekt” with a “k”—the German spelling—a reference to your desire to move back into this European scene?
I just wanted the label to be European, and that is the German way of spelling project. It also ties in to my “Plastik” release. I just thought it made sense and would be a bit different.

Is there a reason that you haven’t pursued this new techno sound under the Simon Baker moniker?
I wanted a new beginning. I actually considered doing this as just the BKR Projekt and leaving my name off it, but I didn’t want it to get lost in the deep sea of anonymous white labels. Because of this, I wanted to put my name to it and do a “Presents” thing—so my name is associated with it, but there is also this fresh identity to accompany the new sonic direction. Eventually I plan to get rid of the “Simon Baker Presents” bit, leaving just the BKR Projekt, and start a live show as BKR Live or something akin to this.

And you've just released on Drumcode too?
Yes. Adam [Beyer] likes my stuff, so I did a Simon Baker EP on Truesoul, the Drumcode sublabel, and a single on Drumcode itself. I also just did a BKR remix on Matthias Tanzmann’s label Moon Harbour, as well as one on Secret Music.

This decision also leaves the Simon Baker name free to produce other stuff, as an entirely different project. Is this something you intend to do?
Not right now, no. I would never say never, but for the moment my energies are on developing this techno sound under the BKR Projekt. Before I started the project, I had already agreed a deep-house track with Steve Bug’s label, but everything that I do from now on is going to be under Simon Baker Presents the BKR Projekt.

That is a big decision to make.
I just hope it works out for me, because I have been known in that world for a long time now. It’s going to be a tough transition but I think it’ll be worth it.

From a label perspective, why did you decide to start the BKR Projekt as a new label instead of continuing Infant Records, your previous imprint?
I almost did go back to Infant Records actually. I looked back at the discography for Infant and there were some great releases. I discussed it with people, and then decided that I want to look forwards, not backwards. I wanted a new name and a new sound.

"I want to look forwards, not backwards. I wanted a new name and a new sound."

Do you have a long-term plan or vision for the future of the label?
It’s not something that I have really considered. I’ve definitely thought a few years in advance, but I don’t have this massive picture as to how I want it to go forward. I’m just going to take it release by release. It’s more for me: First and foremost it's a vehicle for me to release my material when I want and as fast as I want. If I am producing as fast as I am right now, I need a my own label to get it out.

Besides your own material, do you plan to diversify with other artists further down the line?
The first four or five releases are going to be me but as things progress I am going to be open to new artists. It is initially for my work because I want to have an outlet through which I can put my own stuff whenever I want—but if some other good music comes along then I will take it.

Do you have a very clear vision as to the sound of the label?
I do. It’s going to be this stripped back techno sound, with a bit of soul. I am all about having a bit of soul. A lot of people, like Laurent Garnier for example, always describes my sound as funky. I cannot hear this but I guess there is a funky sound, even with this new stuff I’m making. Garnier described it as “funky techno,” which I guess is a compliment. I enjoy the stripped back sound but I need something more—some actual body to the sound.

And you are going to release vinyl, as you mentioned?
Yes. When I first decided to do the label, about three months ago, I thought I would just start releasing my own stuff on a digital basis. It has evolved now, and the sound is a little bit more vinyl-orientated, so I am going to do vinyl.

Besides these scheduled EPs, do you plan to release another album?
I would definitely like to. But my first album took so much energy and so much time, that it took my a long time to recover. There is always this lull after an album because everyone has booked you, you’ve done all the press and there is nothing more for you to do. I cannot face that again so soon.

Finally, you’ve also recently changed your DJ agency. A big part of this change is going be your DJ schedule. Is this all part of the same picture?
Yes, it’s all part of the same equation. With my previous agency, I didn’t feel like I was quite in the right world musically. I’ve always been playing in Europe, albeit less so in the last two years, but more so worldwide like Mexico and USA. I now feel a need to focus on Europe again if I am going to be producing this new stripped back techno sound that I want.

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Senking Returns with New Album on Raster-Noton http://www.xlr8r.com/news/2015/08/senking-returns-with-new-album-on-raster-noton/ http://www.xlr8r.com/news/2015/08/senking-returns-with-new-album-on-raster-noton/#comments Wed, 12 Aug 2015 12:34:26 +0000 http://www.xlr8r.com/?p=99049 Following two years of abstinence, Senking (a.k.a. Jens Massel) returns to raster-noton with a new album, entitled Closing Ice. 

Massel's experimental work is a lot about organic dynamics and also about a certain atmosphere that often feels like listening to a soundtrack. The nine tracks of the album are intently dedicated to his distinctively bass-heavy and atmospheric compositions. The mid-tempo grooves leave plenty of room for his sawing, war-declaring sounds that are unfolding expressive and gloomy but nevertheless warm soundscapes.

Ahead of the album's September 25 release, a cinematic trailer can be streamed in full below.


01  scouts and spies

02  serpent

03  dustclouds

04  grolar

05  winter brevet

06  lighthouse hustle

07  swarming

08  hitchhiker perspective

09  miller’s meadow

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