The Swedish-born producer and DJ known as Avicii has been found dead in Oman. Publicist Diana Baron said in a statement that the 28-year-old DJ, born Tim Bergling, was in Muscat, Oman. “The family is devastated and we ask everyone to please respect their need for privacy in this difficult time,” the statement said. Avicii was a pioneer of the contemporary Electronic Dance Movement and a rare DJ capable of worldwide arena tours. He won two MTV Music Awards, one Billboard Music Award and earned two Grammy nominations. His biggest hit was “Le7els.” His death comes just days after he was nominated for a Billboard Music Award for top dance/electronic album for his EP “Avicii (01).” He was nominated alongside his peers, who have taken EDM mainstream of late — The Chainsmokers, Calvin Harris and Kygo.
Avicii’s hits include “Wake Me Up!” ”The Days” and “You Make Me.” He is the subject of the 2017 Levan Tsikurishvil documentary “Avicii: True Stories.” Avicii had in the past suffered acute pancreatitis, in part due to excessive drinking. After having his gallbladder and appendix removed in 2014, he canceled a series of shows in attempt to recover. He quit touring in 2016 but continued making music in the studio.
“It’s been a very crazy journey. I started producing when I was 16. I started touring when I was 18. From that point on, I just jumped into 100 percent,” Avicii told Billboard magazine in 2016. “When I look back on my life, I think: whoa, did I do that? It was the best time of my life in a sense. It came with a price – a lot of stress a lot of anxiety for me – but it was the best journey of my life.”
Last year, he posted this message on his website, promising to keep creating: “The next stage will be all about my love of making music to you guys. It is the beginning of something new.”
Alex Suarez’s Autogolpe LP follows releases for BANK Records, Ascetic House and Unknown Precept.
The first 2018 album from Ron Morelli’s L.I.E.S. label comes from Brooklyn producer Cienfuegos.
Cienfuegos, real name Alex Suarez, came to New York via Miami and has since made a name for himself within Brooklyn’s network of underground clubs. Thus far, he’s put out records and cassettes on labels like BANK Records, Ascetic House, Primitive Languages and Unknown Precept, but the forthcoming L.I.E.S. LP, Autogolpe, is his first full-length on wax.
Autogolpe, the label says, “Is a term for a military coup initiated by a dictator to take control of an existing government. Suarez uses this loose idea to create the sonic equivalent of the pain, strife, oppression, isolation and joyous freedom associated with the act [of overthrow].”
The record is out next month, alongside an EP by Mick Harris under his Fret alias.
A special Record Store Day 12-inch also features former Haçienda residents Mike Pickering and Graeme Park’s first joint remix in 25 years.
Noel Gallagher’s High Flying Birds will release a remix EP on April 21st for Record Store Day 2018.
The band, led by Oasis member Gallagher, tapped Andrew Weatherall for one of the remixes of their track “It’s A Beautiful World.” They also commissioned one from Mike Pickering and Graeme Park, former residents at legendary Manchester nightclub The Haçienda—it’s their first collaborative remix in 25 years. A vocal and dub version of each rework will appear on the 12-inch, which will come as a limited promotional release on Gallagher’s label Sour Mash Records.
“I love Record Store Day,” Gallagher says. “It gives us, the artists, a chance to put music out there that otherwise might never see the light of day.”
You can hear the Weatherall remix at around 1:55:00 in this recording from NTS Radio.
A1 It’s A Beautiful World (Andrew Weatherall Vocal Remix)
A2 It’s A Beautiful World (Andrew Weatherall Dub Remix)
B1 It’s A Beautiful World (Mike Pickering Graeme Park Hacienda Mix)
B2 It’s A Beautiful World (Mike Pickering Graeme Park Hacienda Instrumental Mix)
Sour Mash Records will release It’s A Beautiful World Remixes on April 21st, 2018.
The project now includes Traxx, Beau Wanzer and Steve Summers.
Mutant Beat Dance will release a self-titled album via Rush Hour in spring.
The 25-track, 200-minute album has been in the works since 2015 and will be released by the Dutch label as a “record album booklet” with six records of varying formats—namely a 12-inch, 10-inch and 7-inch. The group’s founding members, Traxx and Beau Wanzer, brought Steve Summers into the fold for the band’s debut LP. Rush Hour says the record includes “funky grooves, industrial soundscapes, nu age dancehouze, prototype disco dub, Detroit dirge, cryptic ankle bitter anthems and even a punk cover collaborating with members of LCD Soundsystem.”
Traxx, real name Melvin Oliphant, recently provided DJ support for LCD on a North American tour. Wanzer has been prolific in recent years, releasing a steady stream of albums and singles. Letkiewicz, who has recently joined Wanzer and Oliphant as a Chicago resident, released three Steve Summers 12-inches last year. Mutant Beat Dance’s new album follows EPs for Discos Capablanca, Rong Music, L.I.E.S. and Rush Hour.
Carl Cox is one of the world’s most respected DJs — but what is often overlooked is in the early ‘90s he was one of the biggest names in the UK hardcore rave scene.
As a tribute to his long-forgotten penchant for the insane BPMs and genre-defying mixes, American DJ Pearsall — who now resides in Berlin — has recorded a mix that shines a light on the music Coxy was championing between 1993 and 1994.
Pearsall has successfully tried to mimic Cox’s long-forgotten style where the three deck Jedi would mix Dutch gabber with Scottish bouncy techno and everything in between for some truly eclectic sets in the early ‘90s.
“I wanted to boil down two years worth of his musical selections into a single mix, with nice and crisp audio quality and no shitty mc’s,” said Pearsall on the mix’s creation.
“To do so, I built a database of 25 tracklistings from 1993/1994 and pulled together a tracklisting of 45 tunes that captures all of the elements of the Carl Cox rave experience.”
The mix was recorded in Pearsall’s adopted hometown using 100% vinyl — just the way Coxy likes it.
Cox recently announced that he will be playing a fundraiser in San Francisco to raise money for his annual Burning Man stage production.
As time goes on, Leif Knowles continually refines the lush and psychedelic sound that’s very much his own. For an idea of where he’s at as a DJ, listen to his set from last year at Freerotation, where he’s a resident. For his best productions, it’s a toss-up between July V / Shoulders Back, the first 10-inch on his Tio Series, and its follow-up, Bluebird / Number 13.
Trippy as they are, both tracks are playful and somehow innocent—rather than a lurid afterhour, you might imagine, say, a festive gathering of adorable forest spirits (or maybe that’s just me). Despite its high tempo (138 BPM), “Bluebird” rides a lazy, seesawing groove, its twinkling melody framed by percussion that shimmers with delay. “Number 13” moves with a bubbling motion, its bassline gurgling up like a hot spring. As with “Bluebird,” the lead is a winding 16th-note melody, but this one clones itself in a repeating pattern of call-and-response, first in a higher octave, then with a more percussive sound in the lower mid-range. Both are defined by dazzling textures and nimble rhythms, a combination at the heart of most of Knowles’ music, but that here feels closer than ever to perfection.
Takaaki Itoh’s Disciplinary Synthetics EP has a nifty balance between new and old school sounds. There’s the deep and psychedelic side of tracks like “Wisher” and “Obliger,” modern-sounding techno tunes that would hypnotise a dance floor. Then there’s “Anagrammer,” a blistering weapon that couples the rawness of ’90s UK techno with precision percussion and a well-sculpted low-end. It’s no surprise that Itoh can blend eras and sounds so naturally: he’s been producing for over 20 years.
The EP’s highlight, “Wisher,” was picked up by plenty of DJs, and is among RA’s most-charted tracks of January. A fairly standard but effective tool, its kick drum sets a steady pace among a collage of synths that whir and bleep. The sound will be familiar to followers of Northern Electronics and Semantica Records, labels that favour depth over immediacy. While the syncopated “Obliger” hovers in a similar zone, the stomping “Anagrammer” is more forceful, channelling golden-era Birmingham techno with its elastic lead synth. Funky and ice-cold, it recalls the intensity of early Regis tracks like “Allies” and “Sand.” Thanks to a balance between old and new, Disciplinary Synthetics nails a timeless—albeit familiar—aesthetic.
Faithless have been announced for a DJ set at Creamfields Steel Yard London weekender on Sunday 27th May.
The iconic UK electronica outfit will join headliners Tiësto and Steve Angello in Finsbury Park as part of the Steel Yard’s second London edition. Tchami and Malaa have also announced the UK debut of their new ‘No Redemption’ live show for the Sunday.
Last year, during the superstrucutre’s innaugeral London outing, 15,000 people attended each day. Trance legends Above & Beyond will open the weekend’s proceedings on Saturday 26th in what will be their biggest UK show to date. You can watch our rcent in-depth interview with them here.
While the Steel Yard itself was initially built to be an exclusive fixture of Creamfields Fsetival, it has since gone on to host massive events in Liverpool and London. Faithless reformed after a four year hiatus in 2015. Yesterday it was announced that they would DJ alongside Basement Jaxx at Aberdeen’s Enjoy Music festival in June.
The current proposals have been called “the most important copyright reforms of the last 20 years in Europe.”
Jean-Michel Jarre has signed an open letter to European Parliament backing amendments to copyright law.
Jarre is the president of CISAC, an international conglomerate of performing rights organisations aiming to close copyright loopholes in a directive currently being drafted by the European Parliament. The aim is to strengthen the position of copyright holders negotiating licensing deals with large-scale digital platforms like YouTube and Spotify. The current law allows streaming services to pay lower royalties in the EU than other territories, which the CISAC has called “a major problem… holding back our sector and jeopardising future sustainability.”
The open letter deems the current proposals “the most important copyright reforms of the last 20 years in Europe.” The letter continues: “Europe now has a chance to address the ‘transfer of value’ or ‘value gap’ which is caused by loopholes in the law allowing some of the world’s largest digital platforms to deny fair remuneration to millions of creators. To do this effectively, it is essential for the legislation to ensure fair remuneration by user uploaded content platforms such as YouTube. EU law should not be a shield to allow such platforms to make vast revenues from creative works while not fairly rewarding the creators.”