News Tech News

Eventide – Anthology XI

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In the world of hardware effect processors, few names can match Eventide’s acclaim. Going back all the way to the ’70s, their Instant Phaser and H910 Harmonizer generated groundbreaking sounds on albums like David Bowie’s Low. They also covered utilitarian applications like correcting the pitch of TV shows that had been sped up to allow more time for commercials. Many of their most well-received effects were developed back in the days when RAM had just been invented, so it’s no exaggeration to say that Eventide was a pioneer in digital audio effects. The innovation continues today with high-end units like the mammoth H8000FW rack effects processor, which remains one of the most lust-worthy hardware units on the market 12 years after it was first introduced.

When it comes to software, Eventide first embraced the Pro Tools TDM format. Back in 2003, they released Clockworks Legacy, their first ever TDM plug-in bundle, which included the H910 and H949 Harmonizers, a sophisticated compressor called Omnipresso and the classic Instant Phaser and Instant Flanger units. Over the next three years they continued to add new TDM plug-ins to the suite, rebranding it as the more impressive-sounding Anthology bundle. As the computing world evolved, the desire for TDM plug-ins waned, and in late 2015 they made the jump to the native VST / AU format with Anthology X. This included many algorithms from classic Eventide hardware units like the H8000 and H3000, which were cleverly repackaged into 17 different plug-ins. With a high asking price and a heavier focus on mixing and tracking use cases, many electronic producers passed on the bundle in favour of alternatives from SoundToys or Waves. However, this December Eventide released its latest bundle, Anthology XI, which includes new effects that make it more attractive to producers working in less traditional realms.

A good example of the new creative plug-ins added to Anthology XI is Fission, the first of Eventide’s Structural Effects range. This is a new core technology developed by Eventide that lets you split incoming audio into separate transient and tonal parts in real-time for independent processing. We reviewed this plug-in back in March, and were impressed with the myriad ways it could be used. It’s great for tuning drums and percussion, since you can independently adjust the tonal portion of a drum hit while leaving the crucial transient intact from a pitch and energy perspective. You can also use it for extreme sound design, like removing all transients from a sample or enhancing them with delay or reverb. Fission includes six transient effects and seven tonal effects, and the ability to tweak the split engine in many ways. It’s surprising how much it can do.


Reverbs are also well represented in Anthology XI’s new additions. The two that I was most excited about were Blackhole and MangledVerb. These plug-ins are essentially recreations of two of the best algorithms from Eventide’s Space stompbox, and they have a look and feel that matches the hardware. This greatly improves usability compared to the older Eventide UIs, which tended to feel a bit complex. Blackhole, MangledVerb and UltraTap all have well-designed controls over the most important parameters of their respective algorithms. But most exciting are the ribbon and hotswitch controls, which allow you to morph and swap between two snapshots of the effect’s parameters. These are definitely the non-traditional reverbs of the bunch, with Blackhole specialising in huge ambient soundscapes and MangledVerb incorporating a complex distortion algorithm into its reverb chain for additional grit. If you’re looking for more realistic reverbs, Anthology XI’s 2016 Stereo Room and UltraReverb can fit the bill.


The H3000 Factory in particular gave me countless “wow” moments during my time testing the plug-in. While it’s getting on in age (having first made an appearance in the original Anthology TDM collection in 2006), the sheer power housed within the modular environment of the plug-in is astounding. Also, there’s another benefit to the slightly older codebase that the H3000 Factory and other original Eventide effects are built on: CPU efficiency. If it was designed to run on computers over a decade ago and sound great doing so, today’s modern processors would have no problem stacking multiple instances within a single session.

Other highlights from the older plug-ins include the H910/H949 Harmonizers, which sparkle with the characteristic sound of ’80s music production, and the Octavox/Quadrovox pitch shifters. Octavox in particular is a bit of a hidden gem. The ability to use a piano-roll sequencer to draw in the pitch and timing of its eight pitch-shifters yields the most musical approach to this style of effect that I’ve seen before.

When it comes down to it, the main downside with Anthology XI is the asking price. If you own other Eventide plug-ins or bundles, the upgrade costs can be significantly reduced. But if you’re coming in fresh to the world of Eventide, the asking price is pretty steep: $1799. When you compare this to something like SoundToys 5, which retails at $499, it can seem a bit overwhelming. However, if purchased individually, the plug-ins included in Anthology XI would cost over $3500. Even if you just wanted Blackhole, Fission and H3000 Factory, you’d be close to the price of Anthology purchasing those on their own. But if you’ve got the money and are looking for a CPU-friendly effect suite that covers a huge spectrum of audio processing, Anthology XI is worth your consideration.

Cost: 3.7
Versatility: 4.6
Ease of use: 4.0
Sound: 4.9

Festivals News

EPIZODE Festival 2017

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Running from New Year’s Eve through January 10th, EPIZODE strode into its second year with a sense of confidence that was reflected in a lineup stuffed with top-level names. The Vietnamese island of Phú Quốc, situated just south of Cambodia, was barely on the map ten years ago, but now a lucrative tourism boom has taken hold and resorts are springing up by the dozen. It’s still early days for the island’s industry, but the next few years could prove pivotal to its appeal as a destination.

The EPIZODE concept is a familiar one: a partnership of foreign promoters and organisers heads to an exotic location to showcase international artists to an international crowd. Comparisons with BPM Festival (formerly of Mexico, now of Portugal) were heard aplenty, although EPIZODE was thankfully free of the challenges that festival faced in January last year. (That said, the organisers included the teams behind Kazantip Festival and Moscow club ARMA, two promoters that have weathered their fair share of storms back home.)

There are many different ways to organise a beach festival, but the organisers opted for an intimate setting with three stages. Most of the structures were made out of bamboo. There were juice bars and thoughtful chill-out spots, which meant the predominant atmosphere onsite was laid-back and hippyish, boosted by a healthy contingent of international backpackers. Most reports suggested that last year’s much smaller crowd was largely Russian.

When an international party lands in the tropics there’s always a risk that local concerns will get overlooked, but a solid portion of Southeast Asian ticketbuyers had been drawn in by the efforts made to showcase talent from the region. While South Korea’s Peggy Gou—who played two excellent back-to-backs with Bambounou—might well be considered a European artist nowadays (she lives in Berlin), the likes of Hong Kong’s Ocean Lam and Jo.D demonstrated how forward-thinking music from this part of the world can be. The smaller Egg stage played host to many of these acts, and Lam and Jo.D in particular laid down impressive sets of electro and nervy acid.

As often happens at dance music events with so many heavyweight names, there were times when a kind of tech house homogeny took hold—the likes of Richie Hawtin and Loco Dice rolled out typically ordinary sounds. There were, though, plenty of distinctive performances. On January 6th, Denis Kaznacheev played a rich warm-up set on the Freesby stage, with playful, expressive strains of minimal that set the tone perfectly for Sammy Dee and Ricardo Villalobos. The Chilean was at the top of his game well into the morning, inspiring a feverish response from the crowd when dropping irreverent party material like the Thomas Bangalter/Bob Sinclar belter “Gym Tonic.” (Or was it Spacedust’s subsequent rip-off, “Gym And Tonic”? It was hard to tell.) He later returned for a picturesque sunset session where he had free reign to indulge his freaky side with all manner of abstract rhythms and tones.

It was often Freesby that was home to the festival’s best moments, particularly during afterhours sessions where the vibe would get very loose as the sun rose. tINI and Bill Patrick were on exceptional form on January 9th, whipping out Dexter’s “I Don’t Care” to great effect. Tyoma, part of the festival’s organisational team, made a memorable scene of the final sunset with daring but tender selections, veering from UNKLE’s “Rabbit In Your Headlights” to Brad Fiedel’s original theme for Terminator 2: Judgement Day. The ARMA crew took control for the final hours, with Hipushit in particular laying down some crucial slow and trippy tackle before Orgue Electronique fired up a live hardware acid set well past the curfew.

Unfortunately, I was forced to miss Call Super in a frantic dash to make a direct flight from Phú Quốc back to London, which, given the shockingly low prices, suggests that many more from the UK may make the trip out next year. EPIZODE’s small size and loose attitude is rare for a festival with such a weighty lineup and impressive production, and the question of where to go next weighs heavy on the team’s minds. (Musical director and resident DJ Roustam Mirzoev spoke of his desire to bring more live acts and bands into the mix.) All were in agreement that this second edition had been a success, and a step forward from last year. If it can maintain its cosy atmosphere and build on integrating with the South East Asian electronic music community, EPIZODE could become a truly unique festival within the increasingly hectic international circuit.

New Releases News

XL’s Richard Russell announces first album as Everything Is Recorded

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Sampha, Kamasi Washington and Damon Albarn feature on the LP, which comes out in February.

XL Recordings cofounder Richard Russell has revealed full details of his first album as Everything Is Recorded.

As Russell explains in his recent RA Exchange, the album, titled Everything Is Recorded, is a highly collaborative affair, with contributions from Sampha, Obongjayar, Kamasi Washington, Damon Albarn, Giggs, Ibeyi, Wiki, Syd, Rachel Zeffira, Infinite, Green Gartside, Peter Gabriel and Owen Pallett.

Russell will also collaborate with Toby Ziegler on a music and art installation in Dalston, at the site of the soon-to-open Hackney Arts Centre. It’ll run from February 14th through 17th, and will include a three-screen video work featuring music from the album alongside Ziegler’s visual art. The first Everything Is Recorded live performance will happen at the venue on February 15th, with Russell joined by Sampha, Ibeyi, Warren Ellis, Obongjayer, Rachel Zeffira, Infinite and more. Some of the band’s rehearsals will also be open to the public.

01. Intro
02. Close But Not Quite feat. Sampha
03. She Said feat. Obongjayar & Kamasi Washington
04. Wet Looking Road feat. Giggs
05. Mountains Of Gold feat. Sampha, Ibeyi, Wiki and Kamasi Washington
06. Show Love feat. Syd & Sampha
07. Echoes In The Bone – Interlude feat. Rachel Zeffira
08. Bloodshot Red Eyes feat. Infinite & Green Gartside
09. Cane feat. Ibeyi
10. Purify – Interlude feat. Infinite & Peter Gabriel
11. Be My Friend feat. Infinite
12. Everything Is Recorded feat. Sampha and Owen Pallett

XL Recordings will release Everything Is Recorded on February 16th, 2018.

Label: XL Recordings
Music News

Carl Cox starts new label, Awesome Soundwave, for live electronic acts

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The first release is an album from his label partner Christopher Coe, AKA Digital Primate.

Carl Cox’s new record label will launch in May.

The label’s called Awesome Soundwave, or ASW for short, and it’s geared towards artists who make and perform their music live. It’s founded alongside Christopher Coe, AKA Digital Primate, who will also offer up the label’s first release, an eight-track album called MNTNS of SLNC. As the name might suggest, the album is inspired by the damp, mountainous landscapes of the artist’s home on the west coast of Ireland. There’s also a couple of remix EPs in the pipeline for that one.

Stream Christopher Coe’s track “Headland.”

01. Maumtrasna
02. They Walk, The Mountains
03. Let It Go
04. Mountain Burial
05. Headland
06. Mountain Of Grooves
07. Cliff Face
08. Ancient Prayers

Awesome Sound Wave will release MNTNS of SLNC in May, 2018.


New club, Yu Yu, opens in Mexico City

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Yu Yu will also curate a stage in an underground cave at the 2018 Comunité festival in Tulum.

A new nightclub called Yu Yu has opened at Calle Versalles 94 in Mexico City.

The cozy 120-capacity club is tucked into the basement of a late 19th-century residence in the capital’s Juárez neighborhood. It’s equipped with a Martin Audio Blackline X series sound system and an Alpha Recordings 9000 rotary mixer.

The programming will emphasize the city’s wealth of local talent, including collectives like Cuatro Cuartos, NAAFI, Departure Records and CVMR, though they also have international headliners like Tin Man, Rhadoo, Kalawila and Auntie Flo booked for upcoming dates.

Yu Yu will also present a stage at the 2018 edition of Comunité, the Tulum festival that takes place on January 5th. They’ll take over an underground cave at a nature reserve in the jungle, with a bill that includes Matias Aguayo, Clap! Clap!, Kuniyuki & Soul Of Hex, rRoxymore, Tevo Howard, Olin, Eris Drew, Aleksa Alaska, Francis Harris and Itzone.

  • Mexico Jan 05  Comunite 2018, TBA – Tulum, South


Music News


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Joe Goddard’s endearing re-make of Danny Tenaglia’s, “Music Is The Answer” may have been the shining single off his sophomore album, Electric Lines. However, it was this particular single, “Home” which struck four-on-the-floor gold thanks to an immaculate disco chorus sung by up-and-coming vocalist, Daniel Wilson who also stars in the accompanied music video. A tongue-in-cheek, five minute story which follows the vocalist himself on an early-morning, cab-ride home from the club, drifting into unconsciousness towards an animated disco-wonderland filled with psychedelic visions of nude disco divas, leather daddies, and the house music legend himself, Larry Levan.


At about 4AM on one Friday the 13th this past January in the middle of the Yucatan jungle, Dixon was unleashing one unidentified track after another and the very peak of his set he featured this otherworldly tribalistic party-starter by Italian producer, Toto Chiavetta. The tune went down in Day Zero history as the biggest track ID only to be released a long eight months later with seven other fantastic numbers on dance music’s most illustrious imprint, Innervisions. It set the bar higher than ever thanks to an odd pairing of middle-eastern strings and tribal rhythms colored with trippy, reverberated sound effects. It sounded like nothing else yet it fit in perfectly with the vibe of 2017.


I’m completely dumbfounded as to why Rodriguez Jr’s “Heal Me” wasn’t a bigger charting tune in 2017. It’s a nearly perfect composition from his sophomore album, Baobab which was released this past June. Press play, close your eyes, and drift away to sonic heaven.


Dusky spent 2016 achieving electronica fame with their sophomore full-length effort, Outer. But in 2017, the London house duo went back to their roots by diving straight back into ’90 style garage and all things four-to-the-floor including this mega-balearic bomb they titled “Cold Heart.”


Dance music’s most remarkable duo split 2017 right down the middle with their most accomplished full-length yet simply titled Musik 3. It’s their third effort on the LP front and it features this absolutely maniacal, stop-and-go, dance-floor destroyer oddly titled “V13a” and it is without a doubt, one of the best tracks that house music had to offer in 2017.


Marquis Hawkes’ “The Basement Is Burning” is the one that has been getting all the attention this year but his other release on Aus Music, “The Phoenix” is the one which truly took me to that special place.  The ethereal, anthem-like tune practically reaches into my soul and transports me to house music heaven thanks to a traditional house recipe consisting of an immaculately sampled diva vocal, steady euphoric chords, and a raw syncopated bass-line which flawlessly massages the pumping rhythm better than any tune in recent memory.


Dance music’s most legendary imprint, R&S isn’t accustomed to releasing house music but Lone isn’t your run of the mill house producer. For the past ten years or so, the Nottingham producer who’s known privately as Matt Cutler has been churning out his own unique version of early ’90s electronica with a handful of full length albums and a select amount of euphoric singles scattered over a few different well-respected imprints.


Michael Mayer‘s fabulous long-player from late last year featured this indie/electro collaboration with Hot Chip‘s own Joe Goddard. Then just a couple of months later, the tune was given a couple of remixes but up until then, every incarnation of “For You” paled in comparison to Koze‘s revision.  A brilliant makeover which features an ingenious bass-line that takes on a life of it’s own and practically steals the show from Joe Goddard!


Jimpster continues to rule the underground house scene with a critically-acclaimed catalog as far as the eyes can see and in this particular year, he continues his string of high quality tunes. He released his first first full length in four years and it starred this enchanting tribal jam which he masterfully crafted to fit the vibe of 2017.


Wedged smack dab in the middle of house and techno and sitting on top of the ten best of the year is this absolute masterpiece by German-based producer, Tim Engelhardt.

Music News

The Bangkok Countdown Just Revealed Its Epic Stage For New Year’s Eve

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If you’re planning on traveling this year for NYE, may we suggest Bangkok?

The Bangkok Countdown is making its debut this year in Thailand on December 30 & 31. Featuring some of EDM’s top artists, including Afrojack and Knife Party (who will be doing the countdown), this is bound to be a memorable experience you’ll be telling your friends about for years to come.

Brought to you by the same creative minds that present Thailand’s wettest and wildest Songkran extravaganza S2O, this spanking new festival promises to wow New Year’s revelers with a genuine music festival atmosphere – huge futuristic stages, Bangkok’s best comfort food, digital experiences, and a diverse line-up of international artists DJs from various electronic music genres.

And now, the festival has officially unveiled the design of their main stage and it is absolutely incredible. Featuring 16 massive LED screens and trusses sporting a variety lighting effects – and don’t forget about the lasers – this main stage is worthy of being called one of Asia’s most elaborate stages.

Tickets are now available at www.thebangkokcountdown.com.

Music News

David Guetta & Afrojack’s ‘Dirty Sexy Money’ Gets New Life With Banx & Ranx Remix [PREMIERE]

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David Guetta‘s recent heated collaboration “Dirty Sexy Money” with dutch house phenomenon Afrojack, pop sensation Charli XCX, and hip-hop prodigy French Montana gets acunning remix from Banx & Ranx that revitalizes the original track’s sound while maintaining the sunshine-filled vibe.

The original track is loudly taking over the charts on a global scale, raking in an astounding 40 million plays since its release. “Dirty Sexy Money” debuted at the MTV VMA awards in November and exploded the track into its perpetual path of success. The official music video was released last week, and the remix package is slated for a release just before Christmas.

Banx & Ranx’s remix gets a head start with a tribal, moombahton, and reggae vibe with a low-passed pluck and percussion from KIIDA that flows flawlessly with Charli XCX’s vocals. Banx & Ranx take the remix into a dancehall-fueled track without losing the cultural flavor and allow for maximum exposure on the dirty dutch elements with the sunny vibe to shine through. Cesqeaux, who’s signed to Barong Family and Mad Decent, effortlessly embeds the slo-mo reggaeton rhythm that acts as the remix’s foundation and allows for imminent and unlimited building. Lastly, Mesto and Joe Stone (Spinnin’ Records) polish off the cunning remix with flavored indie-dance and electro elements that feature funky piano house melodies and synth refrains.
You can catch David Guetta in the states for NYE weekend, or catch him on his tour through Europe this winter!

December 28 @ Centro de Eventos Valle del Pacifico, Yumbo, Cali, CO

December 29 @ LIV Nightclub, Fontainebleau, Miami Beach, FL

December 31 @ Depot 52 Warehouse, Brooklyn, NY

January 18 @ Olympiahalle, Munich, DE

January 19 @ Accor Hotels Arena (Bercy), Paris, FR

January 20 @ Mediolanum Forum, Milan, IT

January 26 @ TipsArena, Linz, AT

January 27 @ Tauron Arena, Krakow, PL

January 28 @ International Exhibition Centre, Kyiv, UA

February 1 @ Hallenstadion, Zurich, CH

February 2 @ Westfalenhalle, Dortmund, DE

February 3 @ Barclaycard Arena, Hamburg, DE

February 4 @ Festhalle, Frankfurt, DE


What if You Could Play a DJ Gig Using Virtual Reality?

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Survios is creating a VR game for music creation!

For many years, the worlds of gaming and electronic music have collided. Whether it was a game soundtrack or a dance themed game, video games have served as a prominent source of inspiration for producers to create their own music.  With VR gaming becoming popular, it’s only natural that a company would develop a music based game for that system. VR Gaming company, Survios, has recently announced the development of a music creation and performance game called ‘Electronauts’.  

The game enables you to create, remix and perform music within a virtual world. Sounds pretty sweet, right? On top of using the songs in the game, the game also allows users to upload their own songs into the game. Let’s say you want to do a mash up of a handful of songs from a variety of genres. That’s all possible to upload and perform in Electronauts.  Each player will be given three DJ tables with the handheld controllers operating a variety of functions in the game. You can perform songs, play a variety of instruments, record loops, re-arrange your drum kits and much more within the game.

Musical ability doesn’t matter as there is no musical requirements to play the game. A beginner will have as much fun in this game as the seasoned musician.  For the latter, this could serve as a new source of inspiration.  Beta versions of the game will be available to select players in early 2018 with the game expected to be available to the public later that year.

Music New Releases News

Avicii Releases a 3D Video for ‘You Be Love’ Featuring Billy Raffoul

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He may have retired from touring or performing, but Avicii was everything but inactive this year.  A successful new EP, a documentary, and a video game were just some of the project he was involved in this year.

Swedish producer now released a new video, for a song “You Be Love,” taken off his comeback EP AVĪCI (01). The new, 3D video offers Avicii’s idea of creating an entirely new way of telling a love story, lead by surprise, technical innovation, creativity, and emotion.

The minimalistic video made completely in 3D with directors TNT offers a new dimension to the emotional track featuring low-timbered rock and roll vocalist Billy Raffoul. The tragic story, inspired by antique art forms, accompanies the song in the right way, once again exposing Avicii’s eye for details and exploring instincts.

AVĪCI (01) has already proved to be a huge success, while “You Be Love” generated over 19 million streams on Spotify alone.


Music New Releases News

Illenium Releases Breathtaking Piano Covers of Songs from Awake

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Illenium is a Denver-based DJ and producer who thousands of listeners have fallen in love with.  Over the years, he has worked to perfect his entrancing, innovative sounds through producing various singles, EPs, albums, and live sets.  With only one show left of his nearly sold out North American tour for his Awake album, he has been busy beyond belief.  However, that didn’t stop him from seeking out some amazing pianists and surprising all of us Illenials with a new release on his label Seeking Blue / Kasaya.

This newest release from the Denver-based producer is a small compilation of various piano covers of hit songs from Awake titled.  Not your average remix EP, these 3 songs are transformed by extremely talented pianists into even more tear-jerking versions of the originals.

“Beautiful Creatures” is the first track, which is covered by Julien Marchal.  This is the softest interpretation of all of the tracks, but does an amazing job of capturing the feel and story of the original song.  “Fractures,” covered by Lorcan Rooney, is almost identical to the original as the piano follows the melody of Nevve’s vocals almost perfectly.  Finally, Lambert’s cover of “Crawl Outta Love” is included.  This cover is absolutely stunning and is sure to give you chills when you hear the delicate piano notes combined with the soft backing rhythms.

So far, this sneaky release is only available on Spotify.  However, we wouldn’t be surprised if it becomes available on iTunes and/or Soundcloud later on.  Each song is linked below so grab your tissues, put on your Illenium merch, and be prepared to be carried away into complete audio bliss.

Music News

2017’s Best Albums

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Here are RA favourite albums from this year.

    • Jlin - Black Origami
    • Jlin
      Black Origami
      Planet Mu

      “You made something ’cause it sounds good?” Jlin said in an interview this year. “For real? You’re not doing enough.” Her second album lives up to that ethos: Jlin completely rewrites footwork’s DNA into something complex and sinister. Through singular rhythms and stark soundscapes, the American artist shows the kind raw power you can harness with drums, samples and an incredible imagination.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Equiknoxx - Colón Man
    • Equiknoxx
      Colón Man

      Here’s an example of how to make radically weird music that still rocks a party. Since their first album last year, the Jamaican duo have sharpened their sound down to a dangerous point, arriving at a style that is menacing, psychedelic and even silly at times.

      Listen: Apple Music / SoundCloud / Spotify

    • Lee Gamble - Mnestic Pressure
    • Lee Gamble
      Mnestic Pressure

      Among many other subjects, Lee Gamble was wrestling with artistic development, premodern musical notation, politics and soundsystem culture when he wrote Mnestic Pressure. This makes sense. The record achieves an incredible collision, where complex themes and ideas meet the raw immediacy of the dance floor.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Kelela - Take Me Apart
    • Kelela
      Take Me Apart
      Warp Records

      With Take Me Apart, Kelela did what few artists can in following up a standout debut: she transformed while also getting to the heart of what makes her unique. Though she recruited a number of star producers for the album, what emerged from those sessions was an R&B masterwork that’s saturated with her personality. It mixes sex, sadness, vulnerability and empowerment in a way that captures the beautiful, messy essence of real life.

      Listen: Apple Music / SoundCloud / Spotify

    • Four Tet - New Energy
    • Four Tet
      New Energy
      Text Records

      Four Tet showed us his range in 2017. There was “Question,” a simple yet insanely catchy club cut, followed by New Energy, a gorgeous, elaborate record that swings from Rounds-era sounds to lush house and quasi-trance. If his recent run of dance floor singles were lost on any of his original fans, then this album will have won them straight back.

      Listen: Apple Music / Bandcamp / Spotify

    • DJ Sports - Modern Species
    • DJ Sports
      Modern Species
      Firecracker Recordings

      Was there a more assured debut album in 2017 than Modern Species? With its humid atmospheres, light-footed percussion and wafting melodies, is the perfect soundtrack for an introspective summer’s journey. In a year of great records from Aarhus’s blossoming Regelbau crew, this is the standout.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Sublee - Ideepsum
    • Sublee

      Ideepsum captures an artist looking to the past for inspiration. Made up of six club tracks for the body and mind, this double-pack is a breakout release from a little-known Romanian producer with a cosmic touch. Tech house might be a dirty term in 2017, but Sublee reaffirms its potential for enchanting dance floor moments.

      Listen: Bandcamp / SoundCloud

    • Young Marco - Selectors 002
    • Young Marco
      Selectors 002

      Young Marco worked old-school rap, digi-dub and all manner of global oddities into his sets this year, and his Selectors compilation for Dekmantel feels like a trip around the world at 80 BPM. On this journey, we take in Wolf Müller’s tropical drums, Dutch cosmic music from The Force Dimension, and new age house from Larry Heard.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • JASSS - Weightless
    • JASSS
      iDEAL Recordings

      Weightless? This was one of the heaviest experimental electronic records we heard this year. The Spanish artist confirmed her status as one of the scene’s most interesting newcomers, releasing this dense, industrial-infused full-length on the one hand, and tearing up Berghain’s new Säule venue with her DJs sets on the other hand.

      Listen: SoundCloud

    • Fever Ray - Plunge
    • Fever Ray
      Rabid Records

      On Fever Ray’s 2009 debut, Karin Dreijer, appearing on her own for the first time, kept her cards close to her chest, with a sound still wedded to The Knife’s Silent Shout. Arriving eight years later, Plunge is an altogether different proposition, a tour-de-force that explores sexuality and politics with lyrics so blunt they can feel like rallying cries (“Free abortions! And clean water!”). Paired with characteristically alien sounds, produced together with Peder Mannerfelt, the album confirms Dreijer as one of the visionary musicians of our time.

      Listen: Apple Music / SoundCloud / Spotify

    • John Maus - Screen Memories
    • John Maus
      Screen Memories
      Ribbon Music

      Screen Memories is the result of five years spent alone in a house in rural Minnesota, where John Maus not only wrote and recorded these odd bits of synth pop, but also built the synthesizers he played them on. This gives you an idea of the eccentric mind behind Screen Memories, a record that, like all of Maus’s work, is made from baroque synth melodies, post-punk rhythms and inscrutable lyrics, this time touching on subjects like the apocalypse, pets dying and football.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Visible Cloaks - Reassemblage
    • Visible Cloaks
      Rvng Intl.

      Reassemblage synthesises some of 2017’s most recognizable crate-digger trends—Japanese ambient, fourth world music, new age—into startlingly modern music. Using complex processing and production techniques, the American duo pay a respectful homage to their influences. It’s music that hints at various cultural traditions without directly touching on them, like folk music from an alternate reality.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Laurel Halo - Dust
    • Laurel Halo

      Laurel Halo calls her third solo album, Dust, the happiest album she’s made. Of course, it’s not that simple—the LP’s sunny dub motifs, cryptic lyrics and scattershot percussion make for a journey that’s both beguiling and distant. This intricate dreamworld—constructed with help from collaborators like Klein, Lafawndah and Eli Keszler—is alien, yet intimate, with moments of warmth that draw us in again and again.

      Listen: Apple Music / Bandcamp / Spotify

    • LCD Soundsystem - American Dream
    • LCD Soundsystem
      American Dream
      DFA Records

      Well, they pulled it off. One of this year’s big talking points was how LCD Soundsystem wrote a comeback record that exceeded expectations. American Dream doesn’t soar to the anthemic highs of its predecessors, but as a front-to-back listening experience it’s arguably the best record they’ve ever written.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Tzusing - 東方不敗
    • Tzusing

      Tzusing’s debut album is inspired by a literary character who castrates himself in order to become a more nimble martial artist. The Malaysian-Chinese producer’s approach to techno is similarly concerned with agile attacks. With broken beats and exotic instrumentation borrowed from industrial and EBM, 東方不敗 is techno cut with the supple strokes of a master swordsman.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Arca - Arca
    • Arca
      XL Recordings

      On the afternoon of Wednesday 22nd February, lots of people simultaneously gasped, “Oh, shit.” That was the day Arca announced his third album with “Piel,” the first taste of his new vocal-led music. Exactly ten months later, it feels like the record, along with its accompanying live show and videos, is the boldest artistic statement made in electronic music this year.

      Listen: Apple Music / SoundCloud / Spotify

    • Pessimist - Pessimist
    • Pessimist
      Blackest Ever Black

      On his debut album, Bristol producer Kristian Jabs pulls a striking range of ideas from a limited palette. He blends drum & bass, techno and trip-hop with a touch that’s so technical it’s a little scary, while immersing the listener in a bleak miasma that sticks to you. It’s fitting that it came out on Blackest Ever Black: the album is draped in only the darkest hues.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Bicep - Bicep
    • Bicep
      Ninja Tune

      Genres like trance and progressive house are popular for a reason: they’re often produced with maximum pleasure in mind. Bicep know this. On their long-awaited debut album, they siphon the best elements of those genres into something that fits with contemporary house and techno, making for some of the best dance floor moments of the year.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Jana Rush - Pariah
    • Jana Rush
      Objects Limited

      Last year, Chicago native Jana Rush quietly emerged from an almost 20-year hiatus with a wild-eyed footwork EP called MPC 7635. It reintroduced her as one of this year’s artists to watch, and she made good on that promise with Pariah, a rhythmic rollercoaster that proves her remarkable versatility, taking in soul samples, erratic acid lines and next-level rhythmic manoeuvres.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Call Super - fabric 92
    • Call Super
      fabric 92
      Fabric Records

      Dresvn into Objekt, Photek into Don’t DJ, Walter Brown into Yves Tumor—fabric 92 is perhaps the finest example yet of Joe Seaton’s fearless and idiosyncratic DJ style. But more than that, it’s a monument to DJing itself, showing how, with the right combination of taste, skill and daring, mixing records can have transcendental results.

    • Various artists: Visceral Minds 2
    • Various
      Visceral Minds 2
      Fractal Fantasy

      The Visceral Minds 2 compilation is exemplary in two ways. Firstly, it makes a coherent body of work out of 20 different collaborations between the label’s founders, Zora Jones and Sinjin Hawke, and others artists. Secondly, and crucially, its tracks are impressively experimental without losing a connection to the dance floor.

      Listen: Apple Music / SoundCloud / Spotify

    • Porter Ricks - Anguilla Electrica
    • Porter Ricks
      Anguilla Electrica

      The full-length return of a techno and sound design dream team, Anguilla Electrica is a perfect blend of form and function. There are hints of dub techno in its six tracks, which modulate and morph while staying tethered to a steady 4/4 pulse. Abstract yet accessible, this is 2017’s most evocative techno album.

      Listen: Apple Music / SoundCloud / Spotify

    • Octo Octa - Where Are We Going?
    • Octo Octa
      Where Are We Going?

      Where Are We Going? is that rare thing: a club-ready album that grips you all the way through. Its secret is its stylistic range, subtly guiding the listener through sublime deep house, uplifting garage and brooding techno in a way that feels intuitive. As anyone who saw Octo Octa’s brilliant live show can attest, hearing these tracks on a big system was a treat.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Special Request - Fabriclive 91
    • Special Request
      Fabriclive 91
      Fabric Records

      The average mix CD can get across a DJ’s style and taste, but they’re less common as a medium that shows artistic growth. Special Request’s Fabriclive 91 is a spectacular exception. By absorbing electro and ambient into the hardcore continuum that, over the years, Paul Woolford’s alias has refreshed with such style, the mix moves with a devil-may-care freedom and energy, summoning the spirit of one of dance music’s most celebrated eras.

    • Various - Outro Tempo: Electronic And Contemporary Music From Brazil 1978-1992
    • Various
      Outro Tempo: Electronic And Contemporary Music From Brazil 1978-1992
      Music From Memory

      A golden rule of crate digging is to root around sections that others are ignoring. Madrid-born, London-based selector John Gómez went one further, following a hunch and unearthing a little-known scene of visionary experimental electronic music from Brazil. Outro Tempo introduces us to singular artists like Andréa Daltro, Maria Rita and Priscilla Ermel, and shows an important bridge between their techniques and fourth world theory.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Burnt Friedman - Pestle
    • Burnt Friedman
      The Pestle

      In a way Burnt Friedman’s music is destined to be overlooked—the Berlin artist does his best to defy all existing musical traditions, essentially ensuring he has no comfortable place in today’s musical landscape. Some of his records are so good, though, that they simply demand to be heard. Enter The Pestle, a striking and hypnotic collection that presents six of Friedman’s compositions in reverse chronological order, offering a tantalizing starting point for one of electronic music’s most creatively ambitious artists.

      Listen: Bandcamp / SoundCloud

    • Varg - Nordic Flora Pt. 3: Gore-Tex City
    • Varg
      Nordic Flora Pt. 3: Gore-Tex City
      Northern Electronics

      If you couldn’t already tell from his takeover of our Instagram account this year, Varg’s relationship with techno is a little different from most artist’s. Also see this singular album, on which, among other twists, AnnaMelina drops autotuned R&B vocals over a techno-meets-trap beat and, on a heady techno track, Yung Lean sings about killing his landlord. But don’t mistake these creative decisions for gimmicks: Varg’s best asset is how natural he makes breaking the rules sound.

      Listen: Bandcamp / SoundCloud / Spotify

    • Steffi - World Of The Waking State
    • Steffi
      World Of The Waking State
      Ostgut Ton

      Unlike her past work, Steffi’s third album doesn’t feature any vocals, but it still feels like her most personal release yet. Delicate and deeply evocative, it explores a nocturnal blend of IDM, electro and techno, the culmination of years spent collecting records and tinkering with synths. Recalling the alien sound of Ostgut Ton’s early years, it’s a refined LP from a veteran artist with more facets than most.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Juju & Jordash - Sis-boom-bah!
    • Juju & Jordash

      On Sis-boom-bah!, Jordan Czamanski and Gal Aner break open electronic music’s rigid grid by bringing a jam-band method to the table. By framing delicate keys and guitar licks within the language of psychedelic techno, they drift elegantly between driving dance tracks, ethereal electronica and transcendent ambient moments.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Actress - AZD
    • Actress
      Ninja Tune

      Darren Cunningham seemed inspired in 2017. In between travelling around India and collaborating with the world-renowned London Contemporary Orchestra, he put out AZD, an album full of the kind of woozy club music that made us fall in love with him to begin with. It contained, among other strange jams, “X22RME,” one of the year’s underrated club tracks.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Karen Gwyer - Rembo
    • Karen Gwyer
      Don’t Be Afraid

      Rembo is everything you’d want of a house and techno album. Its eight tracks are loaded with personality, conveyed through wild synth melodies, uptempo drums and amusing track titles. You’d dance all night to this music—the opportunities for which are increasing—yet its mist-in-the-woods atmosphere gives it a subtly mysterious pull.

      Listen: Apple Music / Bandcamp / Spotify

    • DB1 - Zwischenwelt
    • DB1
      Hidden Hawaii

      In comparing Zwischenwelt to a “mysterious obelisk,” Mark Smith aptly summarised the album’s enigmatic sound. It draws equally from dub techno and drum & bass, but resembles neither style. That’s partly down to its use of Euclidean rhythms, each one taking turns to draw the ear. Not that much of this would cross your mind on a dance floor—you’d probably just ask, awestruck, “What the hell is this?”

      Listen: Apple Music / SoundCloud / Spotify

    • Thundercat - Drunk
    • Thundercat

      Thundercat is a virtuoso bassist who uses his powers for good—Drunk weaves tangled basslines through a psychedelic smear of funk, R&B and hip-hop, as catchy as it is complicated. It’s dazed like a Saturday morning spent getting high and watching adult cartoons, with a sense of humour and the odd social commentary to match.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Micronism - Inside A Quiet Mind
    • Micronism
      Inside A Quiet Mind
      Loop Recordings (NZ)

      Inside A Quiet Mind collects music made in the midst of an extraordinary transformation: from techno artist to Hare Krishna. The Kiwi artist Denver McCarthy recorded these tracks in the second half of the ’90s—the final stretch of his life as an artist and, by his telling, a person with an ego. It’s hard not to hear this in the music itself: exquisitely reflective and atmospheric, these tracks seem to emanate from an elevated inner state.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • DJ Python - Dulce Compañia
    • DJ Python
      Dulce Compañia

      Out of all of Brian Piñeyro’s aliases, it’s the “deep reggaeton” of DJ Python that stands out the most, and Dulce Compañia is the best example of it The project’s formula—slow dancehall beats that swing with the heft of dub techno—is so satisfying that you wonder how no one else thought of it before.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Ron Trent Presents Prescription - Word, Sound & Power
    • Ron Trent
      Presents Prescription – Word, Sound & Power
      Rush Hour Music

      There’s a “can’t miss” appeal to Rush Hour’s Prescription retrospective. For a few magical years in the ’90s, house legends Ron Trent and Chez Damier focused on the spiritual, deep and healing aspects of dance music, crafting some of the genre’s all-time classics. This six LP box set contains a staggering amount of heat—you could mix an hour or two of perfect tracks using only Word, Sound & Power.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Colleen - A Flame My Love, A Frequency
    • Colleen
      A Flame My Love, A Frequency
      Thrill Jockey

      “Descending milky night”; “Rain, rain, rain”; “be like the bat that nearly flew into my room”: Cécile Schott’s music has a sense of poetry well beyond what we’d normally expect from electronic music, and not just in the lyrics. Her quivering synths, delicate and vivid, are at least as expressive as her breathy, self-trained singing voice. A Flame My Love, A Frequency is her first LP free of acoustic instruments, and it may well be her best.

      Listen: Apple Music / Bandcamp / Spotify

    • NASW. - UntitledME
    • SW.
      Sued Records

      Until last year, SW. had been SUED’s more silent member, with a subtler sound and slimmer release count than the label’s cofounder, SVN. That all changed with Untitled, AKA The Album, a massive leap forward for both artist and label that came out on vinyl last November and then digitally this year on Apollo. A dreamlike swirl of fluttering rhythms and moonlit atmospheres, blending elements of house, ambient and drum & bass, it’s rich enough that we’re still picking it apart a full year later.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

    • Errorsmith - Superlative Fatigue
    • Errorsmith
      Superlative Fatigue

      2017’s most fun and creatively unhinged dance record arrived after six torturous years of work. “Turning the potential into a finished track is very, very hard for me,” Erik Wiegand told Lisa Blanning. We’re glad he persevered. The neon blend of techno and dancehall on Superlative Fatigue was unlike anything else out there this year.

      Listen: Apple Music / Bandcamp / SoundCloud / Spotify

      RA Article

Music News

Afterlife, Circoloco and Diynamic head to Barcelona for 2018

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Loud-Contact’s annual June party series, in collaboration with Proyectual, will take place at Parc Del Fòrum for the first time.

The Barcelona promoter Loud-Contact has announced June parties by CircoLoco, Diynamic and Afterlife, to take place at Parc Del Fòrum for the first time.

The dates for these parties are Thursday, June 14th, Friday, June 15th and Saturday, June 16th, respectively. The lineups will be announced January 8th. Tickets will go on sale next month, and further details on additional parties are expected to emerge around that time. A new stage and production will be set up specifically for the event series, which previously took place at Poble Espanyol. The Parc Del Fòrum, situated on the city’s northern waterfront, is a sprawling multi-purpose venue best known for hosting Primavera Sound festival.

  • Spain Jun 14  Circoloco – Barcelona
  • Spain Jun 15  Diynamic Outdoor – Off Week 2018
  • Spain Jun 16  Afterlife – Barcelona

Facebook signs ‘unprecedented global licensing’ deal with Universal

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The new agreement will allow Facebook users to upload video containing copyrighted audio as well as share songs.

Facebook has signed a multi-year global deal with major label Universal to feature its music on the social media platform.

A press release for the deal describes it as “unprecedented.” Universal’s recorded music and publishing catalog will be licensed to Facebook under the terms, which means that Facebook users will be able to upload videos with copyrighted material as well as sharing songs with each other as part of new features on the social media website. Universal is the first record label to sign such a deal, which will also extend to other Facebook-owned platforms like Instagram and Oculus. The press release also promises that the deal will allow users to “access a vast library of music across a series of social features” as new features are added over time.

Music News

Discogs marketplace surpasses 37 million total releases

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The number of records for sale on Discogs has nearly quadrupled in size over the last two years.

Discogs’ global marketplace now has more than 37 million physical music releases available.

The for-sale section has experienced a nearly four-fold increase in volume since the popular user-built music database celebrated its 15th anniversary back in November 2015, when it was approaching 10 million total marketplace items. The first week of this month alone saw users make 130,000 orders—a record for the site. Currently, around 27.5 million vinyl releases are on sale, making up close to 75% of the marketplace’s listings.

Discogs announced earlier this year that it hit one million total labels and five million total artists in its database, and recently it revealed the results of a project with its sister site VinylHub plotting the locations of record stores around the world. Discogs has also launched marketplaces for movies, books, comics and posters.

Music News

Association For Electronic Music establishes UK hotline for sexual harassment in the electronic music industry

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The new venture is set up in partnership with Health Assured.

A new hotline has been established in order to combat sexual harassment in the electronic music industry.

The Association For Electronic Music, an industry-wide not-for-profit group that’s also involved in the Get Played Get Paid Campaign, has launched the new service in partnership with UK workplace health provider Health Assured. Complete Music Update reports, “The new service will offer advice and guidance to those who call a dedicated phone line.”

The hotline is being set up in the wake of the Harvey Weinstein scandal, aftereffects of which have rocked the entire entertainment industry. Björk reported sexual harassment at the hands of an unnamed Danish director, while 2,000 women from the Swedish music industry signed a #MeToo letter indicating endemic sexism. Many male industry leaders have resigned or apologized in the wake of accusations.

If you are experiencing sexual harassment you can speak confidentially to specially trained staff now by calling 0800 030 5182.

Music News

Innervisions to host three-stage takeover at Barcelona’s Poble Espanyol in 2018

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On Sunday, June 17th, the Berlin label will have the run of the entire venue for the first time.

Innervisions will return to Barcelona’s Poble Espanyol in June 2018 for a one-off event spread across three stages.

Details are scarce at this point, but key members from the Berlin label will oversee the venue’s three main spaces—Plaza Mayor, La Carpa / Picnic Area and El Monasterio—for the first time, on Sunday, June 17th. The party, which will run from from 2 PM through midnight, is a collaboration between Innervisions, local promoter Centris Events and a new outfit named OFFSónar. The full lineup will be revealed in January.

Here’s a bird’s-eye view of Poble Espanyol.

Festivals News

DJ dies and more injured after stage collapses at Brazil’s Atmosphere Festival

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Kalleby Freitas da Rosa, 30, suffered fatal head trauma when extreme weather toppled the structure on Sunday afternoon.

A DJ has died and more were injured at a Brazilian dance music festival after a stage collapsed due to extreme weather conditions.

Kalleby Freitas da Rosa (AKA DJ Kaleb), 30, was standing behind the EDM event’s O Santuário Stage on Sunday afternoon when heavy rain and gale-force winds caused the huge metal structure to topple. (DJ duo Pura Vida were performing when it fell.) Da Rosa suffered head injuries and was immediately rushed to hospital, where he died on arrival. Three others were injured in the incident. The festival took place at Parque Estadual De Exposições Assis Brasil in Esteio, a municipality near Porto Alegre in the south.

Atmosphere Festival issued a statement via Facebook yesterday evening, which has been translated from the original Portuguese.

“We always cherish the security of our audience, following all the processes, reports and authorisations requested by the local authorities. And to our audience we will keep them informed of all our actions to keep the truth about the facts that have occurred. We’re sorry, we lost a friend, an artist. Our priority is to assist the wounded and their families. We thank the military brigade and the fire department for all their assistance.”

An attendee captured the moment the stage collapsed:


Cityfox lands Dixon, Recondite for ‘Marathon’ New Year’s party in New York City

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The 26-hour party with Dixon and Honey Dijon goes down at Avant Gardner starting New Year’s Eve.

Cityfox has announced the full lineup for its lengthy New Year’s bash at Avant Gardner.

The event, which stretches across two stages, begins at 10 PM on New Year’s Eve and extends until the early hours of January 2nd, allowing for extended sets from Lee Burridge, Honey Dijon and Dixon. It runs for 26.2 hours, equivalent to the distance of a marathon in miles.

The party also boasts a live performance from Recondite, Job Jobse and DJ sets from Steve Bug and The Martinez Brothers. Check out the full lineup in the event listing below.

Tickets for Cityfox 2018 NYE are available here on RA. (Discounted tickets on RA are also available through the members-only app Visionnaire.)

  • United States of America Dec 31  Cityfox 2018: Dixon, The Martin.., Avant Gardner, New York
Festivals Music

Dekmantel reveals lineup for Selectors festival 2018

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The Dutch crew will return to Croatia for the event’s third edition next August.

Dekmantel has announced the lineup for next year’s Selectors festival, taking place at The Garden Tisno, Croatia, from August 23rd through 27th.

A number of DJs will make their Selectors festival debuts, including Donato Dozzy, DJ Harvey, Mr Scruff, Mafalda, Phillip Jondo, Elena Colombi, Zozo and Brilliant Corners’ Donna Leake. Return guests at the 2000-capacity event include Hunee, Lena Willikens, Antal, Sassy J, Gilb’R, I-F, Izabel, Orpheu The Wizard, Objekt and Marcel Dettmann.


Mister Saturday Night to open Indoors space at NYC club Nowadays

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Justin Carter and Eamon Harkin’s latest undertaking, a year-round addition to their seasonal bar in Queens, will host three parties this weekend.

Indoors, a year-round, 5000-square foot addition to Justin Carter and Eamon Harkin’s outdoor bar in Queens, Nowadays, is opening this weekend.

The indoor space, and its two custom soundsystems, came into existence with support from a successful Kickstarter campaign that Carter and Harkin, AKA Mister Saturday Night, launched earlier this year. It features a restaurant and bar along with a dining room that turns into a dance floor for parties on Thursday, Friday and Saturday nights. (Thursday nights will have free admission.) One soundsystem is described as an homage to audiophile listening bars in Tokyo’s Shibuya neighborhood, and the other, built by longtime sound engineer Craig Bernabeu, is designed for dance floor use.

This Friday’s Opening Night event will feature sets from Discwoman crew member Bearcat, Night Doll and Precolumbian. The following evening sees Carter and Harkin hold court with Mister Saturday night. On Sunday, the venue hosts its first weekly Planetarium event—an early-evening session “where people are invited to bring pillows, blankets and sleeping bags to lie on the floor and get lost in music,” as a press release puts it. Huerco S, playing live, is the guest at that one, with Carter, Harkin and Planetarium resident Josh Dunn DJing throughout the night. After this weekend’s set of parties, Indoors will open for business on a daily basis starting next Thursday.

Upcoming bookings at Indoors include Avalon Emerson, Scott Grooves and Aurora Halal each playing all-night sets, and a double bill featuring Veronica Vasicka and Josh Cheon (the mind behind our current label of the month, Dark Entries), along with the likes of Phil Moffa, K-HAND, Gunnar Haslam and DJ Python.


Berlin government pledges €1 million to fund noise protection in clubs

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The money will go towards soundproofing venues and nearby residential properties.

Berlin’s city government has pledged €1 million to fund noise protection in clubs and venues.

According to national newspaper Der Tagesspiegel, the money will go towards things like soundproofing venues—including providing noise barriers for outdoor areas—and the windows of nearby residential properties. Though it’s not yet clear how the fund will be distributed, the decision was welcomed by Berlin’s Club Commission. “In a densely populated city, where residential development is close to music venues, investment must be made in noise protection to ensure coexistence,” said its spokesman Lutz Leichsenring.

The article goes on to mention that around ten Berlin venues currently have issues with their neighbours, including YAAM, KulturBrauerei and Jonny Knüppel. From 2011 through 2015, 170 clubs closed down in the capital.

Last week, London also made progress in the battle to protect music venues when mayor Sadiq Khan stated his ambitions to pursue the Agent Of Change principle in his latest Draft London Plan. If introduced, the law would force developers, rather than venue owners, to pay for soundproofing.


We are proud to announce the cooperation with Move Music Distribution

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We are proud to announce the cooperation with Move Music Distribution for our new record label called ‘Dance Factory Records.

Efficient content management system. The most advanced content management and delivery system allows us to deliver your music within hours to all major DSP-s. Our platform is one of the most user friendly on the market, the fact which saves time and makes your release creation, distribution or promo send out effortless.

Festivals News

MUTEK confirms San Francisco festival for May 2018

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The experimental electronic event is sending out a call for proposals.

MUTEK has confirmed a new San Francisco festival set to debut from May 3rd through 6th, 2018.

It will be the first time the global experimental festival—which started out in Montreal—has happened in the US. The San Francisco edition will be co-directed by Surefire Agency founder Miroslav Wiesner and Gabrielle de Villoutreys. The initial lineup and venues will be announced in the coming weeks, while the festival will also set up a call for submissions and proposals from US-based artists on its Facebook page.

“The intersection of art, music, and technology combined with the adaptive nature of the city, its accessible size, the concentration of ideas and its constant supply of curious travelers make San Francisco an ideal location for the first American MUTEK edition,” says Wiesner. “The community needs this now more than ever as the old and the new establish their coexistence and find connections in culture and expression.”

The new festival was first teased in September, when MUTEK SF graffiti tags popped up around the Bay Area. It’s the latest in a series of new editions for the festival, which also launched in Dubai and Buenos Aires this year.

Festivals News

South Africa’s Into The Castle festival cancelled as parent company ‘struggles to survive’

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“Our team is shattered and all the money invested in this start-up is gone,” posted Music Goes Further on Facebook.

Music Goes Further, the company behind the Into The Valley festival franchise, has cancelled Into The Castle in South Africa.

The one-day event was due to take place at Castle Of Good Hope in Cape Town on January 26th, 2018. In a statement posted to Facebook, Music Goes Further said the losses from the cancellation of Sweden’s Into The Factory festival in July, which totalled over €400,000, caused an “acute liquidity shortage,” forcing them to indefinitely postpone the forthcoming event in South Africa. The company also made losses of more than €150,000 at Into The Valley in Estonia, which was plagued by bad weather and small crowds.

“2017 was an absolute nightmare for us, and still is,” reads the statement. “The initiative is on a total pause at the moment and we are working day and night trying to clean this situation up. If we do not make it, it will be the end of our brands, Into The Valley, Into The Factory and Into The Castle, and also for us as festival organizers. It would be beyond sad but we could just never imagine such a series of large setbacks striking us one after another.”

The organisers add: “Our team is shattered and all the money invested in this start-up is gone. We need to take a big step back in order to be able to come back with new energy in 2018. It is our goal to produce a festival in Europe during 2018, but at this point it is too early to plan for this or make any promises. We keep toiling and praying for things to start moving in the right direction.”

Music Goes Further still owes money to artists who played at its previous events. They thanked the likes of Nina Kraviz and Larry Heard for waiving their fees and called on other artists to follow suit, saying “We hope that more artists will follow their example as this cancellation was really out of our hands. Doing so, and refraining the fee, would be vital and a huge help for us to get back on our feet.”

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

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