Dinky “Falling Angel”

A common complaint about the Visionquest label is that it’s not actually as psychedelic as its owners would like their audience to believe. Chilean-born Alejandra Iglesias, better known as Dinky, is a fine choice for combatting this reputation. The producer never strays too far from linear, DJ-friendly arrangements, but her tracks are typically full of quirky—but never overly goofy—melodic touches, organic percussion, and hushed, druggy vocals. In short, Iglesias represents a cross between the pop aspects the label has pursued so far and trippier fare.

Like Time to Lose It, Dinky’s first effort for Visionquest, “Falling Angel” is anchored by the producer’s singing, which is multi-tracked so that it sounds like a kind of communal chant. Although it’s cut with a few micro-house touches, the rhythm is fairly stock, vaguely Chicagoan tech-house, and Iglesias’ anthemic cooing remains the track’s main draw. A Pépé Bradock remix promises to take it into more outré territory, and for his “Détournement au Phlogiston,” the notoriously eccentric producer leaves the vocal intact and lays down a jazzy undercurrent of organ stabs and direction changes. He creates a palpable sense of disconnection in the process: Iglesias’ vocals remain expansive, with an almost pastoral freedom, while Bradock’s arrangement is bustling and urban.

Matthew Styles, meanwhile, capitalizes on the vocal’s ritualistic power. The British producer expertly teases out each element, pushing the track onto increasingly higher planes. As on the original, the rhythm is fairly simple—albeit with a bit of added rustle—and Styles accentuates it with churning bass and subtly stirring guitar twangs. Iglesias’ vocal remains the heart, though, and is amplified to be used as a more tangible hook. It would have been interesting to hear the vocal modified more, but Bradock and Styles’ lack of treatment testify to the original’s heady dominance.

Fuck Buttons Shares New Single from Upcoming LP

The UK duo of Andrew Hung and Benjamin John Power, Fuck Buttons, has long used psychedelia as an integral part of its sprawling, handmade electronic music, but things seem to be taken to a new level on “The Red Wing,” the first single to appear from the band’s upcomingSlow Focus LP. This edited version of the song may cut things down from about eight minutes to three, but the heart of the music remains in tact—Fuck Buttons sound as big and anthemic as ever. The full version of “The Red Wing” is set to appear as a 12″ single limited to 1000 copies on June 24, before Slow Focus drops on July 23 via ATP.

Robert Hood Black Technician (UR Mad Mike Remixes)

Robert Hood‘s Motor: Nighttime World 3 LP from last year solidified a sound the producer had been working toward for some time. Hood remains best known for pioneering a starkly minimal take on second-wave Detroit techno, modifying his predecessors’ futurist inclinations into brutally mechanical, subtly modulating grooves. As Hood has aged, he has incorporated a greater degree of musicianship, and his sound has grown richer as a result—it no longer recalls a relentless factory production line. Theorists might point to Detroit’s decline as an industrial center or Hood’s relocation to rural Alabama as influences, but in either case, the artist’s newly fleshed-out sound is exemplified on Motor‘s “Black Technician.” Now, the track has been singled out and joined by remixes from fellow second-wave luminary “Mad” Mike Banks, who works alongside his Underground Resistance comrades Skurge and Ray 7 and respected hip-hop producer Waajeed.

“Black Technician” goes on for 11 minutes, which is long even by Hood’s standards. It’s a complex piece full of jacking drums, squelchy synthesizer, and tingling chimes, but is marked most of all by its exploratory aspects. Although the track begins with a typically sparse chapter, it stacks elements as it goes, and somewhere around its midpoint it begins to feel almost jazzy with its loose interplay. Minimal techno it is not—at least not by the artist’s definition. The “UR Mad Mike” remix, which features Skurge and Ray 7, takes on more of a classic Hood vibe. After a long introduction of dramatic synth strings, Banks launches into a tightly sequenced arrangement led by tough kicks, rigid bass, and watery stabs, all of which are enhanced only by the most limited of additions (though the strings make a reappearance). It’s a welcome reduction, disciplining Hood’s reflective original and putting its elements to work in a more high-stakes setting.

Even more impressive is the prospect of Banks teaming up with Waajeed (born Robert O’Bryant) on the “DirtTech UR Remix.” Like Dilla or Dabrye, O’Bryant has long incorporated elements of Detroit’s techno legacy into his beats, and he is a solid complement to Banks. (The two appeared together on last year’s Electric Street Orchestra EP, and this remix continues to make good on their pairing.) If Underground Resistance is known for a certain brand of “hi-tech jazz,” one could think of this collaboration as “hi-tech funk.” The duo deploys a mostly gestural acid bassline that nevertheless dominates the track, seemingly absorbing the murmured vocal declarations (“I am a black technician”) amid syncopated snare rolls. It only lasts three minutes, but it marks a colorful finish to an EP by a producer who once seemed to only work in monochrome.

Watch a New Video from Zomby

This new clip which surfaced from enigmatic firebrand/producer Zomby is technically a music video, but not just for any one song. The black-and-white piece plays like a teaser for his upcomingWith Love double-album, cramming snippets of four different tracks into its nearly five-minute runtime. As the skittering, bass-driven beats play out over ethereal soundscapes, we’re treated to a few quick, vaguely religious vignettes rendered in slow motion, all of which actually seem to tell a story. It makes for an interesting piece, to say the least, and above all, a solid sneak peak into the Zomby next record before it drops on June 18 via 4AD.

Watch a Mini-Doc About Brian Eno’s Visual Art

Most people might not realize that Brian Eno, the legendary producer/singer/musician responsible for influencing (not to mention creating) an immense amount of contemporary music, actually got his start as a visual artist. A young Eno when to art school outside of the small English town he grew up in, but while enrolled, wound up discovering his love and inherent knack for music—and the rest is history. That never stopped the artist from exercising his visual talents, though, and today, we’re treated to a short doc about that particular side of his work. Red Bull Music Academy presents Light and Time, a film from director Scott Thrift and production company m ss ng p eces which offers viewers a glimpse at Eno’s latest installation, 77 Million Paintings, while the creator himself describes the work and discusses its meaning and historical background.

Hi, Doctor Nick! – The Right Time to Get a Booking Agent and the Importance of Doing What You Believe In

Nick Hook has the knowledge. More importantly, he’s willing to share it. Our resident doctor (not really) and street shaman pops in every Thursday morning to field readers’ questions about life, love, music, production, touring, DJing, equipment, and… that’s just a partial list. The good doctor is here to help and can be reached at [email protected]. Tap into his brain—it’s stuffed with useful tidbits of information.

Hi. I’m eating veggie dumplings from Prosperity Dumpling. I just got back from Movement in Detroit. I had a great time and saw awesome sets from Benjamin Damage, Cajmere, George FitzGerald, Brodinski, Samo Sound Boy, Derrick May, Kevin Saunderson, and Azari & III. Shouts to Chuck and the Paxahau crew for really throwing a special festival and all the people that I had fun with. Extra props to Red Bull Music Academy. I can say I’m gonna miss everyone when they leave NYC in the next few days. It’s been an incredible month. I’ve also still kinda been processing how much I enjoyed Spinn and Rashad’s set at Santos last week.

The questions have been good lately, so props to that. Keep them coming. [email protected].

Hi Doctor Nick,
At what point should a DJ or live artist consider a booking agency? Are there steps you should meet before making the jump onto a roster? As much as I like the self-booked tour benefits of sleeping on a couch in the same room as the promoter’s half-dying pets and the promoter’s roommate’s questionable urban-foraged meal, I feel like I’m on that Danny Glover “I’m getting too old for this shit” tip. (Proof: the age of this reference.)
Cosby

Hi. Hope you are well.

I’d say the thing to always keep in mind in the music biz is that there’s never a set rule. Some people (like me) take forever to get their first booking agent, and some people get a booking agent before they even play their first show. There are so many factors: if you have one giant song and everyone is sweating you, if you have a manager that has connections and can get you an agent, etc.

I could tell stories for days about trashing peoples houses, sleeping on wet blankets, just mad weird things from being on tour. And yeah, I’m getting too old for it too. Haha. But I wouldn’t trade those stories for anything.

What I keep learning as I get deeper in this is the value of a team. Your management, your booking agent, your lawyer, your assistant, your intern, and all the people you work with. If you are all on the same page, the synergy of what can happen becomes so much greater. You can do more work, learn together, get better shows, and go through more tracks. So choose wisely as you start building this team. Being self-sufficient is so vital because you don’t wanna be that dude that’s calling his agent up every day saying, “WHERE ARE MY SHOWS????” You build your own network and demand and then you end up getting that agent and you hit the ground running. It’s all good and then you probably end up introducing him to people as well.

I’ve always tried to analyze things in terms of “Am I an asset or a liability?” It’s obvious to say, but you need to bring something to the table here. And remember, these people are going to be speaking on your behalf, so make sure that you trust them carrying your word. Reputation goes far in this game, so keep that in mind.

All that said, having an agent helps. We are meant to be artists, not businessmen, so letting the business guys talk business while we do our art is definitely worth the 15% you pay them, cuz they almost always get you 15% more, and a nice hotel on top of that.

Good luuuuck.

Hi Doctor Nick,
A few months ago I opened for a pretty huge name on part of their European tour. It came about just because we were on the same agency at the time, and I thought it could be fun. I don’t usually play the same type of music as this producer, but I realized I needed to at least incorporate some of this style into my set, as I was opening for HIS tour. I did this and the 4-5K strong crowd still booed me on the first night and threw all kinds of shit at me—no matter what I played, they only wanted the main act.

I stayed on and finished while pleading with the promoters to let me get off, as some pretty big things were getting thrown at me. I may have been a dodge-ball champion in high school, but I hadn’t signed up for this and frankly was starting to fear for my safety. Looking back, should I have just left and told the promoters to smarten up and put on the main act? Or was staying out there and doing the full 90 minutes they paid me for (even while pissing off the drug-fueled adolescent crowd) the right thing to do? Also, do you like Pokemon? If so, which is your favorite? (From the original 150 obviously.)

Thanks Doctor Nick, you’re my only hope.
Nathan

First off, YOU are your only hope. Not me. Believe in yourself. (Also, if anyone out there needs a motivational speech, you can contact XLR8R editor Shawn Reynaldo for my rates.)

This answer is gonna be really short, but one of the most important things about this game is: make sure you are doing what you believe in and are having fun. One door closes and another door opens. Yeah, maybe you playing on a big tour, but maybe you missed out on 100 opportunities that were exactly what you wanted when people didn’t reach out because you were gone. I’ve learned this the hard way. The older you get, the more you really know that you need to be doing things you believe in and love.

If you wanna cater to other people, there are a million jobs out there, and I can guarantee that they offer great pay, insurance, and stability.

Just communicate well. Even if those promoters had gotten mad at you for quitting, they still would have respected you and got over it at some point.

I never got into Pokemon, but I’m Hookemon. Is that okay?

Alright, I’m off. I’m going to RBMA to finish a track.

xo

Hi, Doctor Nick! appears every Thursday on XLR8R. Do you have a question for Doctor Nick? Please submit your inquires to [email protected]. Nick Hook can help you.

Dave Saved “Overcast”*Astro:Dynamics *

Young Italian producer Dave Saved (a.k.a. Davide Salvati) is set to drop his debut release, the eight-track Prisoners of Gravity (artwork above), through the consistently on-point Astro:Dynamics imprint on June 10. Before that happens, the label has offered an exclusive download of album track “Overcast,” which filters outsider pop through a foggy, circuitous lens. Sounding not so far off from artists like James Pants or Sand Circles, the track combines primitive analog electronics with ominous, reverb-soaked vocals that gradually lead the tune to a cryptic, dread-filled place.

Overcast

Stones Throw Documentary to Premiere Next Month

After launching a Kickstarter campaign to help with its completion late last year, the Stones Throw-focused Our Vinyl Weighs a Ton documentary is now complete and will premiere at the LA Film Festival in June. The feature-length documentary—produced and directed by Jeff Broadway and featuring a soundtrack of original music by Madlib—follows the story of the Los Angeles-based independent label from Peanut Butter Wolf‘s early days producing for the tragically killed Bay Area MC Charizma and on through the imprint’s work with artists like Madlib, J Dilla, Dam-Funk, and many more. The documentary will premiere at the LA Film Festival on June 21 and 22, with a coinciding party set for June 20. A preview of the film and the flier for the upcoming premiere party are included below; more information can be found here.

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Variete “Tenfive”*Polaron *

The Polaron collective/net-label will release the third edition in its ongoing series of free compilations next week, highlighting a handful of budding producers who affiliate with the Danish outfit. Variete‘s contribution to the comp may be its most straightforward offering, but it also may count as its most impressive too. The rolling tune lays out just below 130 bpm, building a simple but full-bodied house track around a booming kick drum and carefully placed hat patterns. “Tenfive” is deep when it needs to be, sharp at the right moments, and gracefully alluring in its use of subtle chordal and rhythmic adjustments. Variete’s tune serves as a proper teaser for Polaron Selections #3, which will be free to download from the collective’s website on June 3.

Tenfive

Mount Kimbie Extends World Tour

With Mount Kimbie‘s sophomore LP, Cold Spring Fault Less Youth, out this week via Warp, the pair have announced a host of new live dates around the globe with performances scheduled across the US, Canada, UK, and EU from now all the way through to December. After discussing the duo’s new live set-up in our recent From Studio to Stage feature, we are certainly looking forward to seeing Mount Kimbie and its new material in action, and judging by the extensive list of tour dates below, there are plenty of opportunities to do just that in the months to come.

May 30 – Bowery Ballroom – New York, USA
May 31 – Union Transfer – Philadelphia, USA
June 1 – Black Cat – Washington, USA
June 2 – The Sinclair – Cambridge, USA
June 4 – SAT – Montreal, Canada
June 5 – The Hoxton – Toronto, Canada
June 7 – Magic Stick – Detroit, USA
June 8 – Lincoln – Chicago, USA
June 9 – Turner Hall Ballroom – Milwaukee, USA
June 10 – Fine Line Music Cafe – Minneapolis, USA
June 13 – Fortune Sound Club – Vancouver, Canada
June 14 – Neumos – Seattle, USA
June 15 – Doug Fir Lounge – Portland, USA
June 17 – The Independent – San Francisco, USA
June 18 – Echoplex – Los Angeles, USA
June 22 – Night + Day – Hatfield House, UK
June 26 – The O2 (with the XX) – Dublin, IE
July 5 – Nouveau Casino – Paris, FR
July 19 – Melt! Festival – Ferropolis, DE
July 20 – Music of the Future 2nd Birthday – Warsaw, PL
July 27 – Midi Festival – Villa Noailles, FR
August 7 – 10 – Øya Festival – Oslo, NO
August 8 – 10 – Way Out West Festival – Gothenburg, SE
Sep 1 – Electric Picnic – Stradbally, IE
Sep 5 – 8 – Dimensions Festival – Pula, HR
Sep 14 – Festival No. 6 – Portmeirion, UK
Nov 6 – Concorde II – Brighton, UK
Nov 7 – Ritz – Manchester, UK
Nov 8 – SWG3 – Glasgow, UK
Nov 11 – The Fleece – Bristol, UK
Nov 12 – Stylus – Leeds, UK
Nov 14 – Koko – London, UK
Nov 15 – Arts Centre – Norwich, UK
Nov 16 – Buma Rotterdam Beats – Rotterdam, NL
Nov 17 – Boutanique/Orangerie – Brussels, BE
Nov 19 – Le Grand Mix – Tourcoing, FR
Nov 20 – Den Atelier – Luxembourg, LUX
Nov 21 – Trouw – Amsterdam, NL
Nov 22 – Vega – Copenhagen, DK
Nov 26 – Uebel & Gefaehrlich – Hamburg, DE
Nov 27 – Conne Island – Leipzig, DE
Nov 28 – Zoom – Frankfurt, DE
Nov 29 – Gretchen – Berlin, DE
Nov 30 – Meetfactory – Prague, UK
Dec 1 – Flex – Vienna, AT
Dec 3 – Rote Sonne – Munich, DE
Dec 4 – Mascotte – Zurich, CH
Dec 8 – Bronson – Ravenna, IT
Dec 10 – Le Sucre – Lyon, FR
Dec 13 – Sala Apolo 2 – Barcalona, ES

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