Music News


Music News

fabric announces series of all-night back-to-backs for 2018

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Ricardo Villalobos, Nicolas Lutz and Boddika are all down for extended sessions at the London club.

London club fabric will host a series of all-night back-to-backs in 2018.

The extended sessions will run sporadically throughout the year, though they’ll always take place on Saturdays. The first wave of pairings are Adam Shelton and Subb-an (January 13th), Nicolas Lutz and Craig Richards (January 20th), Boddika and Redshape (January 27th), and Richards and Ricardo Villalobos (February 18th). The Martinez Brothers will play the only solo all-night set, in Room One on January 27th.

Other acts confirmed for January and February include Amelie Lens, Petre Inspirescu, Slam and this week’s RA podcaster, Anastasia Kristensen. Head to fabric’s RA page for the full listings.


Berghain announces Silvester 2017 lineup

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40 acts will play the Berlin club’s end-of-year session, including Ben Klock, I-F, The Black Madonna and B12.

Berghain has announced this year’s Silvester lineup.

40 acts are booked for the Berlin club’s extended end-of-year event, which will run from midnight on Saturday, December 30th until some time on Tuesday, January 2nd. Four rooms will be open: Berghain, Panorama Bar, XXX-Floor and Elektroakustischer Salon. Highlights include Ben Klock, Boris, Dr. Rubinstein, Danny Tenaglia, The Black Madonna, Nathan Fake, Volvox, Gerd Janson, Kangding Ray, Efdemin, LSD (AKA Luke Slater, Steve Bicknell and Function), Marcel Dettmann, Rødhåd, DVS1, Rainforest Spiritual Enslavement (AKA Dominick Fernow), I-F, Gideön, Atom™ and IDM veterans B12, who will play live.

Music News

Danish label Multiplex relaunches after 20-year absence

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’90s records from John Tejada, Steve Pickton and Dan Curtin will all be back on the shelves soon.

The Danish techno and house label Multiplex is back in business after almost 20 years of inactivity.

Multiplex was started in 1995 by Copenhagen scene stalwarts Steen ‘Kong’ Mogensen and Cai Bojsen-Møller. The label’s initial three-year run resulted in 32 vinyl and CD releases from artists like John Tejada, Dan Curtin, Morgan Geist, Artificial Funk and the two founders. It ceased operations in 1998, and many of its records have since become hard to come by on the secondhand market.

Mogensen is now teaming with Daniel Kaarill, a longtime DJ, photographer and promoter who also hails from Copenhagen, to reboot Multiplex. The two aren’t dealing with represses—they got their hands on old stock, much of which had been “hidden away” in original packaging from the pressing plant for years.

Their first new move is making several of the label’s records available again. The two-part Tivoli Trax and Steve Pickton’s Sound Of Stas, credited to his Stasis alias, are out now. More releases will follow soon.

Also in the works is a reissue EP, and new music, but details are still TBA.

Listen to samples for a few of those rediscovered records at the Rush Hour store.


French club scene rails against new volume restrictions

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The likes of Laurent Garnier and Jeff Mills have signed a petition against the reforms.

New volume restrictions are being imposed on clubs and festivals in France.

The government of Emmanuel Macron issued a public health decree on August 7th that aims to reduce hearing damage in the French population by lowering the maximum volume permitted at clubs and festivals from 105 to 102 decibels. (Decibels is a logarithmic form of measurement, which means the difference between three units above 100 decibels is greater than at lower volumes).

Bass frequencies in particular are being curtailed. Signage warning of the risks of hearing damage and free earplugs will be mandatory, and venues must also create a quiet zone of less than 80 decibels for patrons to rest their ears. The restrictions apply for venues with a capacity greater than 300 people and will come into effect next year.

Laurent Garnier, Jeff Mills, Rex Club, Antigone, Cabanne, Concrete, Voiski and others have signed an open letter protesting the new rules. The letter also announces a formal campaign to annul the decree and urges the opening of public debate on the matter. “Public health concerns us as any citizen, but we fear that we will sacrifice artistic freedom,” the letter says. “The ones we want to protect are the artists, the operators of closed and open spaces and the festivals… This decree will inevitably lead to a decline in attendance and, at the same time, a significant drop in the revenues of festive establishments and festivals.”

Learn more about hearing loss and tinnitus in our feature.


Music News

Ableton announces Live 10

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The new software features four new devices and a redesigned sound library.

Ableton has announced Live 10.

With the latest version of its influential DAW, the Berlin-based company is primarily focusing on improving Live as a creative tool. There’s a new synth called Wavetable, which contains a selection of waveforms from various instruments, modelled analogue filters and complex modulation capabilities. A device called Echo expands on Live’s suite of delay effects, offering a greater range of digital and analogue textures and more scope for experimentation than the existing Ping Pong and Simple Delay options. An all-in-one drum processing device called Drum Buss will offer control over transient shaping, saturation, low-end intensity and more. Pedal, a new overdrive effect, models different flavours of distortion and fuzz found in guitar pedals, although Ableton says it also excels on drums and synths.

Live’s workflow has also been overhauled. Inputs and outputs can be renamed to match the hardware in your studio, streamlining the process of routing audio in and out of the program. MIDI clip editing has been tweaked, allowing users to view and edit multiple clips at a time. A new feature called Capture transforms ideas into MIDI while retaining the unique swing of the performance, while the implementation of note-chasing triggers MIDI notes even if playback starts in the middle of the note. (This means you don’t need to start from the beginning of a MIDI clip to hear its content).

The mixing process has also been enhanced. Groups of tracks can now be lodged within other groups and the Utility device gets a wider gain range and a bass mono feature. EQ Eight now has extended low frequency slopes and split stereo panning. The overall interface is sharper and the browser can be filtered by most-used tools. Arrangement view meanwhile gains one-key zooming, nudging, time-stretching and drag-and-drop track duplication.

The sound library has been expanded with four new packs of multi-sampled synths, keys and drums, while a Curated Collections organises sounds and instruments into common sonic themes. The sound quality of the Core Library has been upgraded and reorganised to make sounds easier to locate. In addition to an updated workflow, the Push controller now lets you perform in real time and step-sequence notes in the same layout. Note and device information can also be viewed directly on the device.

Max For Live has been fully built in to the program, which means it loads faster and uses less CPU. The devices themselves have been upgraded, including an improved Drum Synth, while multi-channel audio routing and SySex compatibility facilitate multi-speaker arrays and advanced MIDI-hardware integration respectively.

Live 10 will be available in the first quarter of 2018. From now until the release, the various versions of Live 9 are selling for 20% off. Those who purchase a copy of Live 9 will be entitled to a free upgrade to Live 10 when it’s released.

Watch a video about Live 10.

Ableton will release Live 10 in the first quarter of 2018. The Standard version will retail for €349, Suite for €599 and Intro for €79.


The art of disruption: How CDJs are changing DJing

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CDJs may have made mixing easier, but they’ve also ushered in an exciting new era of DJing. Michelle Lhooq reflects on the possibilities they’ve unlocked.

What exactly a DJ does behind the decks is a persistent subject of scrutiny and debate, both in the media and the smoky confines of nightclubs. Recently, it’s become hard to escape the notion that digital music players like laptops and CDJs are behind a new generation of lazy DJs who “just press play.” Haters cite the notorious sync button, which instantly beat-matches two tracks together, as a prime example of how technology has automated skills that DJs once spent years refining. The stigma endures among seasoned heads, who mutter “real DJs play vinyl” while dusting off their record collections.

The widespread idea that digital culture is watering down the art of DJing is a damaging, regressive misconception. Of course, certain technical aspects have gotten easier, but that’s not the point. Rather than using new technologies like beat-matching to cut corners, today’s forward-thinking DJs, often working outside the strict 4/4 confines of house and techno, are treating CDJs as musical instruments, exploring their artistic possibilities in exciting, uncharted ways. Here, we take a closer look at this latest evolution in DJ culture, how it is a response to the old turntable canon, and the crucial socio-political conditions that it sprang from.

The first CDJs, Pioneer’s CDJ-500, went on the market in October 1994. (As Jordan Rothlein noted in a history of the deck, some say the CDJ-300 came first in 1992, but Pioneer considers the 500 to be the official debut.) From the start, CDJs were distinguished by their marriage of the physical and digital, combining the tactile qualities of a turntable via a circular jog dial with a slew of digital tools, such as a “master tempo” button for changing a song’s speed without altering its key.

Subsequent models of CDJs added new digital tricks like hot cues, updated its jog dial into a touch-sensitive wheel, and shrunk in size to become more portable and stable, with the arrival of CDJ-1000 in 2001 marking its current form. Improved functionality—along with the rise of mp3 culture, which freed DJs from the physical and financial constraints of records—helped fuel the growing popularity of CDJs over the next two decades. “‘I can take a snippet of some news or a popular record and throw it in the mix in a completely different way,” Richie Hawtin told The New York Times in a 2001 piece celebrating the freedom and spontaneity of the digital DJ realm. “It opens these floodgates to a whole new potential.”

By the early 2000s, CDJs were fast becoming the standard set-ups at clubs and festivals. But their ubiquity coincided with the growing public perception that, well, DJs don’t really do much.

The golden age of EDM in the early 2010s only furthered this damaging stereotype. In a 2013 interview with GQ, Avicii admitted his sets were entirely pre-planned. Thanks to computers, he said, reading a crowd’s responses to determine what songs to play—a skill DJs historically took pride in cultivating—”feels like something a lot of older DJs are saying to kind of desperately cling on staying relevant.”

In 2014, dance music’s reputation in the American mainstream was served a death blow via an SNL skit called “When Will the Bass Drop?,” in which a DJ named “Davvinci,” played by Andy Samberg, clowns around in a DJ booth next to a giant red button labeled “BASS.” A deluge of headlines praising the viral video for “nailing” EDM culture followed, with a Gizmodo reporter sniffing, “It’s a hilarious parody, but it also tells the stark truth about DJs: Once they’ve put in the hard work of producing a track in the studio, their live shows aren’t really a performance so much as a glorified exercise in pressing play.”

There’s no doubt that CDJs have lowered the barrier to entry for many aspiring DJs by allowing them to hop on the decks with little more than a USB stick and a rudimentary knowledge of how to mix tracks. It’s also fair to argue that they’ve resulted in a formulaic DJing style, as RA’s Ryan Keeling pointed out in a 2016 op-ed called “DJing Shouldn’t Be Easy:” DJ selects track, hits the auto-sync, and brings the volume up, adjusting EQs to taste and using the loop function to buy more time in the mix.

Still, there are exceptions to this glut of mediocrity—DJs who are using CDJs to push their sets in novel and experimental ways—and they’re the ones that count.

One of the most unforgettable DJ sets I caught this year was a late-night back-to-back between Joey LaBeija and Rabit in a half-empty bar in Brooklyn, and hinged upon the unique capabilities of CDJs. Chuckling to each other as if it were a demented game, the two friends deployed some of the craziest techniques I’ve ever seen, effectively treating the CDJs like a DIY sampler and drumkit, and pushing functions like the pitch slider to their extremes. They’d slam the cue button to play a few seconds of a song over and over again, or flick the pitch slider so the tempo careened from 80 to 400 BPM within seconds, while using the loop button to stack layers of sounds over each other. The result was an adrenaline-soaked ride across a myriad of deconstructed club sounds—challenging, yet immensely enjoyable.

Sets like these are tough to imagine with a different setup. “What we do is specifically tied to this set of technology… You can only do what I do on CDJs,” Lotic told 032c in 2014. “There’s only so much you can do with a turntable,” agreed Janus founder Dan Denorch in the same interview. “The whole point of [DJing with turntables] used to be to not make the music stop,” he said. “Now the range is much larger.” Noting that digital technology has afforded a range of possibilities to manipulate music that were “unfathomable” ten years ago, DeNorch said CDJs have engendered “a different form of DJing—it’s a completely new art form.”

One of the most distinctive characteristics of this style is its discontinuity. Tracks of wildly different genres and tempos are stitched together with abrupt stops and starts or cacophonous sound effects. With a more fragmented approach to space and time, it’s not a coincidence that many of the DJs playing this way are operating outside the strict confines of 4/4 house and techno. In the same interview, Lotic called his “rude and disruptive” DJ style “a complete rejection of smoothness.” M.E.S.H, another Janus affiliate, put it this way: “They’re often looking for smoothness in other scenes, which we don’t really pay that much attention to.”

M.E.S.H. said over email that CDJs act like “a little window into the studio” by allowing you to access a large archive of sounds he’s made. In the past, he explained, he’s experimented with time signatures by mixing different loop lengths and approximated a granular synth pad by exploiting the pitch algorithm. Lately, he’s been feeding audio from CDJs back into a software mixing setup he designed himself.

At the same time, M.E.S.H. argued that CDJs allow for more flexibility and spontaneity because you can keep sounds in sync imperfectly through touch, rather than being stuck to a master MIDI clock as you would with a laptop or sequencer setup. “When you can be instinctive and have a tactile feeling of the sound, you can really open up,” he said. “It feels like an instrument.”

Venus X, another forerunner of this style, said that CDJs give her a greater sense of immediacy. “CDJs force you to be present at every moment of your set,” she said over email, citing the ability to sample moments from any track via hot cues, play with speed and loops in a tactile way, and mix in an aggressive manner that lets the audience hear everything you’re doing. “Other DJ programs lack that sense of immediacy and feel rehearsed.”

You could argue that these techniques are not a departure from vinyl DJing so much as an evolution of it. Using turntables, pioneers like Frankie Knuckles and Larry Levan would play two of the same records at the same time to edit out or extend certain sections, or use drum machines to beef up the beat. M.E.S.H also pointed out that Copenhagen-based DJ HVAD uses turntables to play in the abrasive style associated with CDJs, “skipping the needle around on a vinyl as if he had the whole thing hot-cued in his memory.”

Still, commonly used metaphors like “journey” and “storytelling” speak to how continuity is an inherent value in the traditional mode of DJing, where DJs were judged by their ability to weave tracks together into a coherent, overarching narrative. By pushing the paradigm from smoothness to rupture, the shift from analog to digital DJing mirrors the transition from modernism to postmodernism—a wave of critical thinking that developed in the mid to late-20th century and was described by Marxist literary theorist Fredric Jameson as the “cultural logic of late capitalism.” Whether in fields of art, music, or writing, postmodernists were concerned with themes of rupture, rebellion and the anxiety-ridden technological condition. The movement was also about amplifying historically excluded voices, with postmodern thinkers like Foucault examining the social systems that enable cultural hegemony, violence and exclusion from power.

Postmodernism came out of post-WWII disillusionment, with the fall of Berlin Wall in 1989 marking the start of the “postmodern age.” Social context is also key to understanding how the disjointed style of DJing under CDJs came to be. In her Art of DJing interview, Venus X noted that GHE20G0TH1K, a New York-based queer/POC party widely credited as an incubator for this style, came up between 2009 and 2012, when young people were struggling with the fallout from the 2008 financial crisis and rising student debt. “You couldn’t actually visualize your future and what does that sound like?” she said. “Pure fucking chaos.”

In the same interview, Venus also connected the disruptive DJ style associated with GHE20G0TH1K with a rebellion against the status quo, saying, “continuity is white power. Continuity is patriarchy.” Over email, she further explained this connection: “To my knowledge, most DJs qualify as good or bad depending on their ability to mix seamlessly and in ways that are non-confrontational. The philosophy of GHE20G0TH1K… is meant to disrupt those traditional male perspectives and conservative ideas of what nightlife and music are supposed to be.”

On a similar tip, the Indianapolis DJ Noncompliant pointed out to THUMP that by lowering social and financial barriers to entry, digital technology has allowed for new groups of women, queers, trans, non-Western and POC to join the fray. “Purists complain that ‘anybody’ can make music or DJ now, but that’s entirely the point,” she said. “‘Anybody’ means ‘the people who could never access it before.'”

Count me as one of those people who, because I lacked a record collection, never considered DJing until I was exposed to CDJs. When I first started learning how to play, a coworker who typically plays vinyl gave me a piece of advice I’ll never forget: the key to mixing, he said, was to take the vibe from one song and move it into the next, like a ball being passed from one hand to another around a basketball court. The players can zig or zag, but the ball can never be dropped. This colorful analogy is better suited to the smooth DJing style associated with turntables, but it can be also be applied to CDJs. Except instead of passing one ball around, DJs have all kinds of balls in the air at the same time, or are breaking them apart entirely, throwing the shards into your face while flipping the bird with a grin.



Suspected acid attack leaves two bouncers from Salford’s The White Hotel in hospital

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The incident took place at the venue on Manchester’s outskirts early on October 29th.

A man attacked door staff at The White Hotel in Salford last weekend armed with a knife and a substance police believe to be acid.

The incident happened at about 3:45 AM on Sunday, October 29th, during an event headlined by Dopplereffekt. According to Manchester Evening News, the man was ejected from the club and later returned to carry out the attack, throwing the liquid at bouncers before fleeing. Two staff members were taken to hospital with serious burns.

In a statement posted to Facebook, the venue said it was “shocked and saddened” by the incident, which it called “a random and isolated attack.” Located on Manchester’s outskirts, The White Hotel regularly hosts club nights with a mix of techno, electro, experimental music and more. The venue has set up a crowdfunding page to raise money for the two staff members hospitalised by the incident. They’ve also set up a donations box at the venue.

Read the venue’s full statement, which includes details on how eye witnesses can offer information to police.

Music New Releases News

Terre Thaemlitz to release new multimedia album, Deproduction

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DJ Sprinkles remixes are also included on the package, which comes out in December.

Terre Thaemlitz is releasing a multimedia album called Deproduction.

Comprising audio, video and text on a SD card, the package interrogates the Western Humanist conception of family, its global pervasiveness and its influence on the agendas of LBGT groups. The release, which comes out in December on Thaemlitz’s Comatonse imprint, also features two remixes by her DJ Sprinkles alias. It’s her first major release as Thaemlitz since 2012’s Soulnessless.

Deproduction was made with support from art organisiations documenta 14 and Akademie der Künste der Welt. It premiered at documenta 14 in Athens on July 9th and has also appeared at London’s Cafe Oto and Sheffield’s No Bounds Festival (Joe Muggs described the work as “hardcore Japanese incest and gay porn put through a kaleidoscope and overlaid with incredibly dark textual meditations on childbirth, reproduction, family dynamics and global politics.”)

Read Comatonse’s statement accompanying the release.

“We live in an era in which dominant LGBT agendas are increasingly revolving around themes of family, matrimony, breeding and military service. The cultural terms for social analyses and organizing around such issues requires an aggressive capitulation to peculiarly Western Humanist notions of the nuclear family, as well as private and public space. As a result, Feminist and Queer critical rejections of family structures (nuclear and otherwise) are increasingly scarce. An ability to understand the abuses of family and domestic violence as symptoms of larger institutionalized dominations becomes virtually impossible.

In a stereotypically familiar and heteronormative manner, the anticipated promise behind today’s Queer families is nothing more than the egocentric notion that familial abuses will be resolved by this generation being better parents than the previous generation. What is forever absent are discussions of what it means to deliberately not be a parent, and to deliberately abandon family. They remain as taboo as the notion of celebrating the relief of an abortion.”

01. Names Have Been Changed (Sound/Reading For Incest Porn)
02. Admit It’s Killing You (And Leave) (Sound/Reading For Gay Porn)
03. Admit It’s Killing You (And Leave) (Piano Solo)
04. Names Have Been Changed (DJ Sprinkles’ Deeperama)
05. Admit It’s Killing You (And Leave) (DJ Sprinkles’ Deeperama)

Comatonse will release Deproduction in December, 2017


New London nightclub E1 reveals lineup for 27-hour opening party

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Âme, Mano Le Tough, Blawan and Avalon Emerson will all DJ at the venue over the New Year’s period.

New club E1 London has revealed details of its 27-hour opening party, taking place this New Year’s.

Âme, Mano Le Tough, Blawan, Kiasmos, Avalon Emerson, Volvox and Denis Horvat have all been confirmed for the party, which begins at 9 PM on New Year’s Eve and runs through until midnight on January 1st. More names will be added to the bill. The club, formerly known as Studio Spaces, is located in Wapping, with a bespoke soundsystem installed with help from local audio company Sound-Services Ltd.

Tickets are available here on RA.

  • United Kingdom Dec 31  E1 LONDON 27 Hour Party, E1 London, London

Hamburg club Golem to close at the end of November

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The venue is shutting after seven years in operation.

Hamburg club Golem will close at the end of this month.

The venue, which features a bar upstairs and a small club space (called Krypta) in the basement, announced the news yesterday via Facebook. Speaking earlier today to Resident Advisor, Golem’s booker, Maurice Kattick, confirmed that the owner, Wolf Von Waldenfels, had decided to sell the venue in order to focus on another Hamburg spot, Uebel & Gefährlich, which he also owns.

Since opening in 2011, Golem has been a go-to spot for fans of underground house and techno—recent guests include Pariah, Bookworms and Skee Mask. The club’s closing parties will go down across November 24th and 25th, with full details, including lineups, coming next week.

Read the club’s statement (in German) on Facebook.

  • Germany Nov 03  Trace #8 with Basco, Leo & Kumulus
  • Germany Nov 04  Isle Of Wax with Castro-Moore
  • Germany Nov 04  Marc Schneider & Momo
  • Germany Nov 10  RDK Island with Jaures
  • Germany Nov 11  Kann denn Liebe Synthie sein? + Nights Of Sian
  • Germany Nov 17  Stiff Little Spinners x Golem
  • Germany Nov 18  Drowned Labelnacht + Welcome To Rimini #5
  • Germany Nov 24  Closing Weekend Pt.1
  • Germany Nov 25  Closing Weekend Pt.2

Kiev club Jugendhub raided by armed police and military officials

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The incident on Friday, October 28th resulted in several beatings and arrests, according to eyewitnesses.

Kiev club Jugendhub was raided by armed police and military officials on Friday, October 28th in an incident that resulted in multiple beatings, arrests and alleged theft of valuable equipment.

According to eyewitnesses and footage from the scene, around 50 “uniformed and masked men with weapons” stormed the 300-capacity venue at 2 AM. Approximately 200 people were inside at the time. “They started to turn out our pockets, beat the visitors and check all men for evasion of military service and some guys were taken away,” said Jugendhub co-founder Anastasiia Spyrydenko. “They beat people completely without reason—everyone was frightened and did not resist at all. Police used excessive physical strength, there were blood stains on the floor. Personal belongings, equipment [and] clothes were stolen.”

The official police report, published on the afternoon of Friday, October 28th, says that the club has been the subject of repeated noise complaints from nearby residents. On the night of the raid, 17 people were taken to a nearby police station on drug possession charges, while 11 underage partygoers were returned to their parents.

Another 32 people, accused of having evaded army service, were transported to a military enlistment office. (Army service is compulsory in Ukraine.) Detainees present at the military office told a source close to Resident Advisor that some people were subsequently released, while others were kept for up to 24 hours without being able to contact relatives or lawyers.

The police report also states that Jugendhub “operates without any permits,” though a Facebook post by the lawyer working on behalf of the club, Kseniya Prokonova, disputes this, saying that “all the paperwork is fine.” The police report’s claim that the bathrooms “do not work” is also allegedly misleading—eyewitnesses said that the authorities caused the damage themselves, breaking the pipes and kicking cubicle doors.

Since opening in July this year, Jugendhub has hosted regular parties featuring mostly local and Russian house and techno artists. Though the club remains open after the raid, there will be no parties in the near future. (The raided event marked the closing of the current season.) The only event in the diary is a lecture about drug safety, scheduled for this Saturday, November 4th.

Jugendhub isn’t the first Kiev club to be targeted by the authorities—Closer was raided several times in 2015 on suspicion of drug-related activity. More recently in Moscow, staff and punters at Rabitza were violently attacked by police, an incident that led to the club’s subsequent closure.

Resident Advisor Article


China clamps down on nightclubs as Party Congress takes place in Beijing

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Nightclubs in the country’s capital have been forced to close amid tightened security measures.

China is cracking down on nightclubs and other music venues during this week’s Communist Party meeting in Beijing.

The country is tightening security as more than 2,000 delegates arrive in China for the Party Congress, which began on Wednesday, October 18th, and runs into next week. Though exact details remain unclear, music venues across the country are being taregeted. In Beijing, it appears as if all nightclubs have been forced to close entirely until next week, a move that’s forced local promoters to cancel events, including a show with DJ Zinc at Dada Beijing that was due to happen on October 21st.

The New York Times reports that President Xi Jinping’s government is targeting not only nightclubs but Airbnb, which has been suspended to “reduce the flow of outsiders to the capital.” The BBC reports that restaurants, gyms and karaoke bars have also been targeted as a result of the congress, which takes place every five years.

Festivals News

London’s Field Day festival is leaving Victoria Park

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The festival will take place on June 2nd, 2018, at a new location.

Field Day is leaving its Victoria Park home in 2018.

The festival announced that its next edition will take place on June 2nd, 2018, at a new location somewhere in London, though organisers haven’t revealed where it’s happening yet.

More information as we have it.

Music New Releases

Trikk back on Innervisions with Mundo Ritual EP

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The eight-track release will land next week.

The next release on Innervisions is a 12-inch by Portuguese producer Trikk.

Mundo Ritual will be Trikk’s second release on Dixon and Âme’s label, following 2016’s Florista EP. Out on October 13th, the new record sees the Oporto native, real name Bruno Deodato, presenting eight more tracks in his earthy and melodic deep house style. The EP shares its name with a two-part online mix series by Deodato from 2016, which you can stream in full.

Listen to clips of the EP via Bleep.

01. Karls Java feat. Fred Und Luna
02. Kuno
03. Saitama
04. Bela
05. Mandole
06. Altar
07. Voltaire
08. Venal

Innervisions will release Mundo Ritual on October 13th, 2017.

Music New Releases News

Wrong Assessment launches label, AWRY

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The first release, from the label boss, is due out later this month.

Milan techno producer Wrong Assessment is launching his own label called AWRY.

Wrong Assessment says AWRY will highlight his own music as well as that of artists who share his penchant for “deepness, hypnosis and minimalism.” A four-track EP from the label boss, simply titled AWRY001, is up first and expected by late October. Following that one will be a record from Midgar artist Ruhig, with a remix by Sublunar cofounder and Ilian Tape and Black Opal affiliate Sciahri—a release date for that one is still TBA. The label’s output will come on vinyl and digital formats.

AWRY is the next move for Wrong Asessment, an artist who in recent years has put out tracks on imprints including Mord, M_REC, Clergy and Parachute. He also used to collaborate with the late M_REC boss Max_M under the name Overall Severity.

Listen to samples of AWRY001.

A2 False Flag
B1 Cryonics
B2 Palmistry

AWRY will release AWRY001 in late October, 2017.

Music New Releases

Pre – Order Now Dominion, Vol. 2 Various Artists

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Pre-Order Now the latest Various Artist compilation “Dominion Vol 2” available from Beatport.


1.Deep Pleasure Original Mix – GIOC
2.Mi Gente Original Mix – Luis Requena
3.Silly Night Original Mix – Sanna, J8Man
4.About You Addict Djs Remix – Baltic Pirates
5.I Am With You Original Mix – Deugene
6.Bouncing Ball Extended Mix – Beati Sounds
7.Rafa Montejo Original Mix – Neo
8.Affinity Original Mix – DJ Ell Jay
9.Slick Rick J.A.DJ Remix – Danger Bay
10.Exhale Axel Hall Remix – Angelica Joni

Pre-Order Now!

Festivals News

The xx announce Night + Day festival at Iceland’s Skogafoss waterfall

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The band will headline the three-day event in July, joined by acts like Floating Points, Call Super and Warpaint.

The xx will bring their Night + Day event series to Iceland’s Skogafoss waterfall from July 14th through 16th.

It’ll be the first time the spectacular site has been used for a music festival. The xx will perform live once, with band member Jamie xx also DJing. They’ll be joined by acts like Floating Points (who will DJ), Sampha, Gilles Peterson, Hunee, Benji B, Avalon Emerson, Warpaint, Kamasi Washington, Call Super and Axel Boman, who will team up with Robag Wruhme as part of a Pampa showcase. Some local artists have also been booked, including Högni, Orang Volante and Trip favourite Bjarki.

The band say they “fell in love” with Iceland during the recording of their latest album, I See You. Since that record’s release, they’ve toured the world and hosted a seven-night residency at London’s Brixton Academy. Read our review of the second Brixton show.

Music News

Robert Miles: DJ known for 1990s hit Children dies aged 47

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DJ Robert Miles, best known for his trance hit Children, has died at the age of 47 after a short illness.

The Italian musician topped the charts in 12 countries with the track, which was first released in 1995 and reached number two in the UK in 1996.

He also won the Brit Award for best international breakthrough act in 1997. Pete Tong led the tributes to the DJ, who died in Ibiza, tweeting: “Sad to hear Robert Miles passing. RIP, thanks for the music.”

Singer Boy George wrote: “R.I.P Robert Miles. Very sad news!”

The news was broken by producer and longtime friend Joe T Vannelli, who said: “The tragic news of the death of a very talented artist of our time makes me incredulous and upset.

“I will miss the fights, brawls, criticism, judgements but especially your talent in finding sounds and melodies unparalleled.”

His statement continued: “I remember 1997 Brit Awards Ceremony very well. Robert Miles was the best international newcomer award, introduced by Gary Barlow. Miles was the only one Italian artist winner in BA history. “Children is an instrumental and dance anthem, one of the most ever loved tracks. With Robert Miles a part of my life dies with him.”

Miles was born Roberto Concina in Switzerland on 3 November 1969 to Italian parents.

‘Thanks for the inspiration’

After finding mainstream success with Children, he had two further UK top 10 singles – Fable and One & One – and went on to release five albums. He also launched a Balearic radio station called Open Lab, which played experimental music.

Other figures in the dance music community to pay tribute included Darude, who tweeted: “RIP Robert Miles. Thank you for the inspiration, direction & courage!”

Armin van Buuren said: “Really in shock to hear the news of the passing of Robert Miles,” while Chicane wrote: “I only played ‘Children’ 2 weeks ago on Sun:sets…. I wished I had written it.”

Music New Releases

Ricardo Villalobos lines up Empirical House LP on [a:rpia:r]

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Rhadoo, Raresh and Petre Inspirescu’s label will release the four-track record in May. g!

[a:rpia:r], the label run by Rhadoo, Raresh and Petre Inspirescu, will put out a record from Ricardo Villalobos in May.

With four tracks spread over two vinyl discs, Empirical House will be [a:rpia:r]’s first release in over a year. (It follows the December 2015 release of Parcul Cosmos, the first album from Romania’s Dan Andrei.) Empirical House, which is listed as an album on the ourown distribution website, sees Villalobos in a laid-back and atmospheric mode, delivering four percussive cuts that may sound familiar to anyone who has caught [a:rpia:r]’s founders behind the decks in recent years.

Empirical House is Villalobos’s first solo release on [a:rpia:r], following remixes of DJ Sneak in 2010 and Raresh in 2014. Stream samples at ourown.

A Widodo
B Bakasecc
C Subpad
D Empirical House

[a:rpia:r] will release Empirical House on May 5th, 2017.

Music News

Aphex Twin shares new demo track, ‘4xAtlantis take1’

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He made it “to test out the Poly CV feature” on the Cirklon sequencer.

A new track by Aphex Twin appears in a promotional video for the gear manufacturer Sequentix.

“4xAtlantis take1” plays in the background of a clip that Sequentix uploaded today to YouTube (watch that below). Richard D. James “made it to test out the Poly CV feature on the Cirklon sequencer,” a company representative told Pitchfork today. The track also makes use of Atlantis synthesizer modules—thus the title. It’s the first new Aphex Twin material since last year’s Cheetah EP, which also contains two tracks named after the Cirklon.

Hear “4xAtlantis take1” in Sequentix’s promotional video.

Article / Resident Advisor

Music News

Patricia inaugurates new label, Active Cultures

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First up is is an EP from Bill Converse’s new project, Tide Eman, then a Patricia album co-released with Spectral Sound.

Patricia is preparing to launch his own label, Active Cultures.

The Chicago-born, Brooklyn-based producer has put out solo records on Opal Tapes and Spectral Sound, and worked alongside Matt Morandi (AKA Jahiliyya Fields) as Inhalants, as well as Cloudface as DSR.MR, among other collaborations. Active Cultures, which will release on vinyl and digital formats, “has been slowly brewing for about a year,” he told RA. “The aim is to use the label as a platform to not only give myself more freedom to release my own musical output, but also provide an outlet to friends whose music I want to support.”

A new alias from Bill Converse, Tide Eman, is behind the label’s first record, a five-track EP called Animate Objects that’s due out in May. Next up will be a triple-LP Patricia album co-released with Spectral Sound (details for which are still TBA). Active Cultures’ plans for future releases include archival early ’90s productions from Todd Sines, along with material from a new Morandi project.

Stream samples of Tide Eman’s Animate Objects EP at Clone.

A1 Measurement
A2 Animator (Ver 1)
A3 Speak
B1 Animator (Ver 2)
B2 Ice And Dust

Active Cultures will release Animate Objects in late May.

Article / Resident A

Music News

Iranian DJs denied entry to UK to perform at London film launch

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The pair, known as Blade & Beard, are the subjects of Raving Iran, a documentary that explores the persecution they’ve faced in their home country.

Two Iranian DJs booked to play at last night’s documentary screening of Raving Iran at Village Underground were denied entry to the UK.

Anoosh Raki and Arash Shadram, who DJ as Blade & Beard, said they were “devastated and disappointed” by the decision. “Anoosh’s visa was refused by the UK embassy in Geneva,” say Unleash, who were promoting the event. A spokesperson for the event says Arash, meanwhile, “was not sent a refusal or acceptance letter” meaning he was also unable to enter the UK. They say Arash’s application was submitted with a fast-track service in mid-March, which usually guarantees a response within five working days.

The film they were supposed to be in town to promote, Raving Iran, is a documentary by German filmmaker Susanne Regina Meures about the persecution Anoosh and Arash faced in their home country. A press release calls the film “a chilling insight into the lives of two young men defying the Iranian regime with their love for music.”

“We were so hopeful and extremely excited to visit the United Kingdom and to play for Unleash at Village Underground in London,” Anoosh and Arash said. “We left Iran in the hopes to follow our path as artists, and to finally freely play around the globe. It’s a shame that politics get in the way of art, and freedom, even in such a liberal and democratic country as Great Britain. We would like to apologise for our absence and that we cannot share the passion we have fought for with you this evening, but we will continue following our dreams and hope that one day, in the near future we can visit the UK and showcase our music in such a diverse and wonderful city.” This is the first time the pair had applied for a UK visa.

Unleash shone further light on the situation: “Despite submitting all the necessary documents and adhering to all visa application requirements, Anoosh received a letter from the UK Visas & Immigration team stating that his visa was refused because the authorities were ‘not satisfied that you [Anoosh] are a genuine visitor and will leave the UK at the end of your visit.’ Arash did not receive any response from the embassy; despite our numerous attempts to contact the embassy via telephone, email and post, we still have not received an official rejection letter nor an explanation. We express our sincere condolences to Anoosh and Arash and apologise to all of you that were as excited as we were to welcome them for their UK debut.”

Commune, which is hosting a screening of the film on June 3rd at Rio Cinema in Dalston, released the following statement: “All of us at Commune are gutted about the news of the visa issues for Anoosh and Arash and that they won’t be making their big London debut at Village Underground. Continuing to promote the film in the UK is incredibly important, not only to spread their incredible story, but to help alter the perspective we’re fed in the West of Middle Eastern youth culture—there are lots of young people passionate about dance music in Iran. Hopefully this film can help to weaken the repressive regime they have to suffer.”

Last night’s event still took place, with Amirali stepping in for Blade & Beard.

Watch a trailer for Raving Iran.

Article / Resident Advisor


Maceo Plex announces new album, Solar

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The 11-track LP, out in June, will be the first release on the US artist’s new label, Lone Romantic.

Maceo Plex has a new album on the way called Solar.

News of the record broke late last year when the US artist, real name Eric Estornel, released Journey To Solar, an LP of club-focussed material written during the same period as Solar. The new album is more varied, spanning electronica, dub, breakbeat and techno. Estornel, who named Solar after his son, says it chronicles his fatherhood, from “the ups and downs in the first few years” to “its effects on life, marriage and more.” It’ll come out on June 16th via Lone Romantic, a new label from Estornel for more leftfield electronic music.

01. Sparks Of Life
02. Polygon Pulse
03. Indigo
04. The Separation
05. Eternal 808
06. Kepler’s Journey
07. Solar Wind
08. Wash Away My Tears
09. The Tesseract
10. Lucid Dreamer
11. Swan Dive