GAIKA Details Debut Album, ‘Basic Volume’

GAIKA will present his debut album next month via Warp Records, titled Basic Volume. 

We’re told that Basic Volume is a “sprawling yet cohesive album that devours genres and spits them out, tangled around personal tales of love, loss, and rebellion.” The 15-track collection is co-produced by GAIKA, with additional production from SOPHIE, Dutch E Germ, Dre Skull, and DADRAS, Aart, as well as previous collaborators including Jam City, Nick Leon, and Buddy Ross. 

GAIKA says: “Basic Volume takes its name of from my father’s maroon technology. It is the science he taught me before he left this world. It is the poetry we grew under and were made strong by its force. With this knowledge, I fought until my hands bled, propelled into combat by the god of metals. It’s all true, I nearly lost my heart to angry memories, waking dreams of burnt out laboratories and dead friends. I am this chemistry and it is I and so I wrote it here. Basic Volume is a collection of alchemical parables for all the Immigrants who wander the earth in search of themselves.”

“Now GAIKA’s darkly magnetic blend of gothic dancehall and industrial electronics has expanded into his most far-reaching work yet,” the label adds. 

The release follows Gaika’s two EPs for Warp—Spaghetto and The Spectacular Empire—as well as a couple of self-released mixtapes. 

Tracklisting 

01. Basic Volume 

02. Hackers & Jackers 

03. Seven Churches For St Jude 

04. Ruby 

05. Born Thieves 

06. 36 Oaths 

07. Black Empire (Killmonger Riddim) 

08. Grip 

09. Clouds, Chemist And The Angel Gabriel 

10. Immigrant Sons (Pesos & Gas) 

11. Close To The Root 

12. Yard 

13. Crown & Key 

14. Warlord Shoes 

15. Spectacular Anthe

Basic Volume LP will land on July 27, with “Crown & Key” streaming in full below—or here for EU readers due to temporary GDPR restrictions. 

Premiere: Hear a Deep and Jazzy Remix From Clovis

Last month, Visionquest released a remix package of Merveille & Crosson‘s 2017 Cerulean LP.

Featuring an all-star cast of remixers, including Luciano, Seth Troxler & Phil Moffa, Bruno Pronsato, and Clovis, the package provides four inspired interpretations that draw on Merveille & Crosson’s experimental jazz-like wanderings. From Luciano’s dark and twisted reworking of “Sous Le Sol” to Seth Troxler and Phil Moffa’s rolling techno interpretation and Pronsato’s mind-bending percussion excursion, the Cerulean remix package is sure to please those of more minimally-inclined persuasions.

In support of the release, Visionquest has offered up a full stream of Clovis’ remix of “Nordic Bummers,” a gorgeous jazzy dancefloor cut, available via the player below. 

You can pick up the EP here. 

Due to temporary issues regarding the GDPR, EU readers can stream the remix here. 

Artist Tips: Deetron

Swiss DJ and producer Sam Geiser’s technical proficiency should not be understated. As Deetron, Geiser has operated in the upper echelons of house and techno since the mid-’90s, delivering world-class, highly-acclaimed outings for coveted mix series (fabric, Balance, and DJ-Kicks), as well as two albums on Music Man Records and countless EPs and remixes on imprints such as Aus Music, Circus Company, Rejected, and the aforementioned Music Man. Geiser takes to each of these artistic endeavors with meticulous fervor, from his notorious three-deck mixing wizardry to his tough yet accessible productions. Geiser is one of the most consistent artists in the game.

Geiser’s latest outing as Deetron found him mixing the first 2018 edition of !K7‘s renowned DJ-Kicks series. Released back in March, the 38-track mix is the latest manifestation of Geiser’s gracefull mixing style and refined production aesthetic, crafting a body of work that, as he says, “represents my work as a producer and remixer as well as my aim to recreate tracks using three decks when DJing.” Under Geiser’s deft touch, the mix CD format comfortably leans more towards that of an artist album, massaging tracks together into new forms while approaching sections “more like a production or remix,” he states. It’s an emotive and engrossing compilation from an artist who has been blurring the boundaries of DJing and production for over two decades.

For our latest Artist Tips, we enlisted Geiser to offer a range of production knowledge, from recording synths into Ableton for in-the-box processing to morphing vocals into basslines and more. 

Deetron “Untitled” (DJ-Kicks exclusive)

Use Analog and Digital Synths in the Creative Process

I have set up all my synths in such a way that they run through my soundcard and into Ableton so I can put effects plugins over them and, finally, export them for my mixdowns. If you have a similar setup, here are a few tips on how to get going with making a new track. 

Firstly, get together a basic rhythmic structure to play with and then start recording long takes using your master MIDI keyboard or recording audio directly with any synths you may not have hooked up with MIDI. After you have recorded a few takes, playback the MIDI or audio files and try to look for the best parts. Based upon these first recordings—which could be, for example, a chord progression, bassline, or lead—start building the track and arrangement. This process gives you more of a live feeling and allows for an instant and spontaneous approach to making music, which is important in my opinion, especially at the start of the creation of new music. Very often the initial idea transforms into something entirely different, harmony-wise but also rhythmically and I find that’s an exciting side to the process as well.

Use Plug-ins and Layers to Enrich Your Synth Sounds

As mentioned in the above tip, the advantage of running the audio of the synths through the computer is the possibility of adding a plethora of plugins to the sounds. For example, you could use big hall reverbs such as R-Verb or Trueverb with low decays on basslines in order to give the sound more space and depth. I should also mention that the bass section, in general, is what I consider the most important in my music and it takes up most of my time spent in the final mixdown. In order to get a larger sounding bass section, layer multiple sounds playing the same bassline pattern. You can achieve the best results if you have a sound covering the sub-bass section below 100 Hz, another one covering frequencies around and just above 100 Hz, as well as a line covering the lower mids around the 250 Hz. In this case of three separate basslines, to get them to sound coherent and punchy together, use sidechain compression on the three elements feeding into each other. In order to do that, put a compressor on each of the two lower frequency basslines and sidechain the higher freq one into the compressor on the sub-bass and the highest frequency bassline into the compressor on the mid-frequency bassline, as seen below.

Compressor settings low bassline.
Compressor settings mid bassline. 

Work with Vocals or Other Samples to Build Sounds

A technique I love to use to create pads or deep bassline sounds is to take vocal samples, or sometimes I also my own voice, and manipulate these in a way that they become a sound of their own. In order to do this, layer a simple “ooh” or “aah” across a certain spectrum, for instance, the circle of fifths across a few octaves—I often use the chord function in Ableton to do this. Following that, heavily process the samples with EQ’s, filters, reverbs, and distortion to your liking and thus create your own sounds to work with on the track. At the end of the day, it’s a lot like building a sound with a synth but I find it inspiring to use a sample that might seem unlikely to make a certain sound. My track called “Sing” and my remix for Tony Lionni have almost entirely been made using this approach and one of my personal favorites, the remix I made for Ezel’s “In my lifetime,” is also based upon this technique. Both tracks are making use of a choir-like sound I put into Ableton’s Sampler to transform into the bassline and main lead lines in both tracks.

Record Effects on Percussion

In order to give the rhythm section of my tracks more depth and atmosphere, I like to put effects on my percussive elements in the mix. For example, take a shaker and map it to a number of effects channels—for instance, a flanger, reverb, or delay—and then mute the original percussion channel and keep the effects channels playing solo. Quite often during the process of doing so, a percussive element can develop a life of its own and become more of a melodic element in the track. There’s a lot of trial and error involved in this, so the more you tweak and override your effects the better. I also like putting reverbs on my bass drums and then recording them solo on a separate channel, before sampling them as individual sounds with Ableton’s Sampler or Impulse and layering the new sound with the kick drum with the help of sidechain compression.

Double Vocal Channels for a Richer Sound

A simple but effective trick you can apply when working with vocal stems is to duplicate the original channel—which immediately enriches the sound and body of the original vocal parts—then slightly re-time it so it works almost like a very short delay. You can then pan both of them left and right in order to give the vocal more width and spectrum. The next step is usually adding effects to the duplicate channel like, for example, adding a harmonic doubler effect or some distortion. This very much depends on how you would like the vocal to sound—more earthy and clean or possibly more robotic and processed, for example. Furthermore, you could use the same approach described in the paragraph above and place an effects chain on one of the channels and record it solo as a separate channel and layer with the original sound.

Chris Kaz “Track 9”

The multi-instrumentalist producer Chris Kaz will return with another future-soul offering, “Track 09,” and has also announced forthcoming album Untold.

An extension from last year’s “Track 03,” the single showcases Kaz’ abilities in producing thought-provoking, soulful music, engulfed with his distinctive vocals. 

Born and bred in London, Kaz’ multicultural heritage has always been a key influence on his output. As a half Greek-Cypriot and half German-Sri Lankan, his music is inherently diverse and inspired by a multitude of genres. 

Untold will be released this summer via Perth Records, with “Track 09” available to download via the WeTransfer button below. 

EU readers must stream here and download here due to temporary GDPR restrictions

Leon Vynehall ‘Nothing Is Still’

Score: 6.5/10

Just six years into his career as a producer and DJ, Leon Vynehall already has a lot to live up to. His two double EP releases, namely Rojus—released in 2016 on Running Back—and, in particular, the brilliant Music For The Uninvited—released in 2014 on Martyn’s 3024— set the bar incredibly high. These and subsequent 12” releases earned Vynehall near universal accolades and a place in most credible end of year charts. Leon Vynehall was one to watch. Therefore, anticipation for this release, Nothing Is Still—his first album proper and the start of his relationship with new label Ninja Tune—has been significant. Does this album meet expectations? Well, that depends on what you’re expecting. 

Upon first listen, this album will disappoint those searching for the clever and inventive dancefloor tracks for which Vynehall has become most loved. There isn’t actually anything here which could be recognized as house music. Its absence is a lot to get over, even more so given the highlights of this nature present on Vynehall’s aforementioned long-players. But, once you do get over it—and it may take several listens—Nothing Is Still is an intriguing engagement with an ambitious artist clearly still in development. More Phillip Glass or Steve Reich than it is Phillip Lauer or Steve Hurley, it is a contemplative exercise in electronica wholly focussed on the story it is trying to tell. And, if you afford it the patience, it does so charmingly.

That story is essentially a tale from Vynehall’s own family and it’s evident in the care he’s taken with the project that it’s one close to his heart. Long before he was born, Vynehall’s grandparents decided to move from south-east England to New York City. This album, plus the extensive novella which accompanies it, are essentially a partially reimagined travelogue of their experiences on the journey and within that alien culture.

We start on the coast of England, samples of seagulls and calm waters denoting closeness to the shore. Before long, a swell of strings rise preparing the listener for the ambitiousness of what’s to come; deep plunges of synths evoke the wild, open sea and when top end percussion is introduced, it immediately conjures images of sustained motion. The journey has begun.

On second track “Movements,” we are placed comfortably within Ninja Tune territory; beautiful electronica with more than a nod to jazz in its swinging rhythm. Multiple brass lines give way to a lovely piano solo. The sampled guitar of “Birds On The Tarmac” sounds promising; are we edging into modern classical or even ECM territory? Unfortunately, the short track doesn’t develop. It’s a shame. Vynehall proved so competent working within a krautrock framework on his Midnight on Rainbow Road release, and you’re urging him to take you in that direction here. Or at least to something you can get your teeth into. 

Many of the tracks here are bookended by samples and, to his credit, Vynehall does create a rich mental picture of the story with their use. But on “Julia,” the sampled monologue isn’t particularly engaging and yet the music again defers. Coupled with “Birds On The Tarmac”’s non-start, there’s a lull in the album here.

Interest returns with “Drinking It In Again,” its sampled vocalizations reminding a little of Tom Waits. But it’s the next track, “Trouble,” where things really liven up. Split into several sections, it depicts an unpleasant encounter with authorities while sightseeing close to the Canadian border. When the punching bass is introduced midway through, you can imagine it signifying the violence of the scenario. The album’s preceding single “Envelopes” comes next. It’s a well-chosen lead track: atmospheric and barren to start, with a slow tempo hip-hop beat and backward samples, before its pleasing synths give in to a growing cascade of strings. There is no end to their rise; the comedown you might expect never materializes. It feels like a lack of resolution and it’s rather gripping. With this unexpected direction of strings, Vynehall pleasingly wrong-foots us. It’s reminiscent of how he did so on “Inside The Deku Tree.”

Halfway through “English Oak,” the track morphs into an engaging techno construction, not unlike some of Carl Craig’s Landcruising-era soundscapes. It drops back into an orchestral base before tantalizing with a sampled string sound, perhaps a kora or other harp? It is a beautiful but all too brief moment which, again, you’re willing Vynehall to expand upon. But this is frustratingly offered as merely a glimpse—a fragment of the wider story Vynehall is trying to tell. A cathedral of cleverly intertwining samples stuns on “Ice Cream,” before the string-laden and saddening ultimate track “It Breaks” signals the adventure’s end.

It’s a pleasant but not altogether engaging finale. You’re left questioning if this has really been such an adventure at all. For Vynehall’s grandparents? Certainly. For Vynehall himself, in his meticulous research and emotional attachment to the story? No doubt. But for the listener? 

Leon Vynehall is still a relatively young man. Less than a decade into his career, on Nothing Is Still, he has embarked on an incredibly ambitious project that shows an altogether different side of his music making and artistic expression. It is an exciting installment, not least because it opens up possibilities for him within several different mediums in the future. And considering his track record in the curation of events, there’s no doubt that this significant talent would prove a success in whichever direction he chooses to apply himself. His grandparents’ story is served well here, subtly and with Vynehall’s admirable aim to never take center stage over the telling of the tale. Though it remains to be seen if, given his past proficiencies, fans might have hoped he would have actually shown more of himself on his debut artist album. As an artistic endeavor, it is a laudable milestone for Vynehall. But as an album that warrants repeated listens, over many years? That will be for fans to decide.

Tracklisting

01. From The Sea/It Looms (Chapters I & II) 

02. Movements (Chapter III) 

03. Birds On The Tarmac (Footnote III) 

04. Julia (Footnote IV) 

05. Drinking It In Again (Chapter IV) 

06. Trouble – Parts I, II, & III (Chapter V) 

07. Envelopes (Chapter VI) 

08. English Oak (Chapter VII) 

09. Ice Cream (Chapter VIII) 

10. It Breaks (Chapter IX) 

Ninja Tune will release Nothing Is Still on June 15, with “English Oak,” “Movements,” and “Envelopes,” streaming in full below—or here for EU readers due to temporary GDPR restrictions. 

 

Labelle “After The End”

Back last month, Infiné Music released the latest EP from Labelle. 

The four-track Post-Moloya EP follows Labelle’s 2017 album, univers-île, and, like that album, the new EP was produced on an array of machines in his high-rise apartment in Saint-Denis, which looks out on the beautiful cultural crossroads of La Reunion. The EP itself is a modern yet deeply rooted nod to maloya, one of the two main musical genres of Réunion, resulting in a gorgeous hybrid of instrumental trance music. 

In support of the EP, Labelle has offered up a download of the EP’s opening track, “After The End,” which pairs organic instrumentation with hypercolor synth work and a fascinating, explorative wonderment, which, as Labelle explains, “conditions the listener to shamanic revelation.”

You can download “After The End” via WeTransfer below, with Post-Moloya available here.

Due to temporary issues regarding the GDPR, EU readers can stream the track here and download it here. 

Review and Photo Gallery: Lightning In A Bottle 2018

Why is it that, in the case of music festivals and events, some experiences easily fade into the abyss of forgotten moments in our minds, while the marvelousness of others can continue to grow clearer with time? Is the quality of the event’s musical offerings the one true factor that defines the way the experience is imprinted in our memories? Or is it the crowd and the people we experience it with? Maybe it’s the venue and production? Or maybe it’s a combination, and those special events that embed themselves in our memories as the most gratifying are the ones that are able to tap into excellence in all these areas.

This certainly seems to be the case with transformational camping festival Lightning in a Bottle, which over the past several years has solidified itself as a favorite for many West Coast festival addicts. The dance music weekender, produced by Do LaB (the team behind the eponymous musical structure at Coachella), descends upon the shores of California’s Lake San Antonio during Memorial Day weekend each year, bringing together an eclectic mix of underground scenesters, Burning Man disciples, and neon-clad kandi ravers.

While at other festivals these cliques couldn’t seem more at odds with each other, LiB’s extensive program of music, art, local vendors, and family-friendly activities—all set amongst the backdrop of Do LaB’s iconic structural aesthetic—result in a sense of cohesion and seamlessness not found elsewhere. Further, these offerings are responsible for the formation of LiB’s own unique festival culture, which has grown to encompass some of the best qualities of the aforementioned groups: the musical intellect of the underground, the promotion of self-reliance and sustainability rooted in Burning Man, and the colorful friendliness of California’s thriving rave community. All were on full display at this year’s LiB, ensuring that the festival’s 2018 edition will be remembered as one of the top events of the season to date. 

Although the festival officially began on Wednesday afternoon, the bulk of LiB’s performances and activities ramped up on Friday after most attendees had arrived and settled. Despite the arduous task of setting up camp, which was made more difficult this year due to uncharacteristically strong winds and moody security staff, festival goers were full of excitement as LiB’s three main stages—Thunder, Lightning, and Woogie—kicked into gear. Do Lab organizers seemed to expect this: the musical programming for Friday was by far the most upbeat of all three days. At the house and techno-oriented Woogie (a cult favorite within LiB’s confines), Dirtybird mainstay Will Clarke quenched the crowd’s thirst for party tunes with a mix of sample-heavy tech house bombs. Across two bridges at the Thunder stage—which came to life this year as “Wapiti,” Do LaB’s newest and most frenetic structural creation—Bay Area-born producer and Counter Records signee Giraffage dropped a fusion of disco and trap while the sun disappeared behind the distant hills.

By nightfall, swaths of electronic pop lovers were gathering at the main Lightning stage to catch a performance from crossover duo Sofi Tukker. While the Ultra act’s two sold-out shows in LA the week prior were met with acclaim, their LiB performance was marked by collective feelings of mediocrity; even the duo’s ridiculous(ly) popular song “Best Friends” seemed too relaxed for Friday’s crowd. Back at the Woogie, funky-house pioneer Purple Disco Machine played the first of many highlight sets of the weekend, blending fresh gems like Disclosure’s recent “Ultimatum” with nostalgic tunes such as Earth, Wind & Fire’s iconic “September.” While the set was an ideal precursor to the lovely tapestry of techno and disco woven by The Black Madonna, the real focal point of Friday evening was Modeselektor’s closing DJ set at Thunder, which opened with Vril’s “Torus XXXII,” released on Giegling sublabel Forum. The Ninja Tune duo’s appearance was some of the most forward-thinking, intense music we’ve ever heard at LiB, distinguished by extended emotional breakdowns and deliciously mind-melting bass (standout tracks included Jon Hopkins’ recent album cut “Emerald Rush” and the FJAAK remix of Missing Channel, Robert Hood, and Claude Young’s “Onslaught”).

On Saturday, the overcast weather of the previous evening had shifted, making way for clear blue skies and smooth, crisp beats. Teeming groups of attendees (“LIBers” as they’re often affectionately called) gathered at the rocky shores of Lake San Antonio for some rest and relaxation before the day’s festivities, donning massive popsicle and bird-shaped floaties and gulping beer. One glance at the convivial lakeside atmosphere induces an immediate appreciation for the festival’s venue and surroundings, with Do LaB’s simple yet detail-oriented structures complementing the beauty of the site. By around four in the afternoon, the energy at the stages had already kicked into high gear. Mira, a resident at Berlin’s Kater Blau, serenaded crowds at the Woogie with a low BPM, groovy mixture of evolving melodic house cuts. Over at the Favela Bar—a quirky after-hours spot curated by Southern California selector Patricio—Dadon and Jimbo James, the minds behind LA-based blog Music Is 4 Lovers, dropped a satisfying journey of minimal tech house. The LA duo’s slot proved to be the perfect segue into a set from Yotto back at Woogie, with the Finnish Anjunadeep favorite displaying a powerful mastery of progressive house mixing and production (the forthcoming Yotto track “Katsu” was especially thrilling as the golden hour ensued).

Next, at the breezy, cloth-draped Lightning stage, German live electronic act Monolink’s performance was a huge improvement from earlier West Coast appearances, but still not at the level of other indie crossover projects like Bob Moses or Jan Blomqvist. Back at Woogie, Canadian DJ/producer B. Traits whipped the crowd into a frenzy with an eclectic set of exuberant techno dotted with old school rave elements. Patrice Baumel followed with a deeper, more impressive sound than the big room vibe we’re used to from the Amsterdam-based producer and DJ—this was perhaps due to his focus on setting the tone for Saturday’s closing act, MOOD Records boss Nicole Moudaber. Despite Moudaber’s reputation for all-encompassing explorations of smooth, metallic techno, her LIB appearance felt disjointed and out-of-place, sounding more like a broken dishwasher than a techno set from a seasoned, heavyweight DJ. The musical quality of the night, however, was saved by a surprise back-to-back masterclass in melodic techno from Patricio and Patrice Baumel at the nearby Favela Bar, where loaded, totem-holding LIBers gathered around Subtract’s hard-hitting Danley system until the music ended at around four in the morning.

Sunday’s arrival brought rising temperatures and a blazing sun, resulting in lakeside revelry well into late afternoon. Oona Dahl helped jumpstart growing crowds during her set at the Woogie, with the All Day I Dream affiliate exhibiting a penchant for diverse selections not often seen in melodic-leaning circles. The reliable YokoO came next with a euphoric set of deep house before French pioneer Rodriguez Jr. delivered a solid performance (fast-paced edits of 2016 track “Mistral” and Baobab album cut “Monticello” were notably good.) While hoards of LIBers cleared Woogie to catch Zhu’s closing set at Lightning, Stimming capped a weekend of stellar tunes with a virtuosic live set of glitchy, emotional electronica.

All in all, the musical programming was top-notch throughout the whole weekend; not only did organizers succeed in the diversity of the festival’s bookings and the quality of the sound at each stage, but their attention to timing and scheduling was also on point. 

A quick look back at the lineup for 2018’s Lightning in a Bottle Festival indicates that Do LaB’s 13th annual edition was not meant to be the festival’s most memorable or spectacular. Bookings from the likes of The Black Madonna, Stimming, Modeselektor, and Sofi Tukker were all solid and reliable choices, but not even close to the level of last year’s program, which included globally-renowned heavyweights like Richie Hawtin, Stephan Bodzin, Sam Gellaitry, tINI, and Kaytranada. Despite this, the LA-based production house demonstrated that for LIB, having the most stacked lineup is a nice feature but not always necessary. As long as there is substantial care and thought placed on the festival’s musical offerings, activities, production, sound, and venue—factors obviously important to Do LaB—a diverse, energetic crowd will converge and a great weekend will ensue. Upon reflection, it’s clear that all these elements played key parts in forming the wonderful memories of 2018’s Lightning in a Bottle; memories that, instead of fading or blurring, will actually ripen with time.

Photos by Jess Bernstein and Marko Prelic.

Premiere: Hear a Warped Out Cut from Proc Fiskal’s Album Debut

As announced, Hyperdub will release the debut album of Joe Powers (a.k.a Proc Fiskal), titled Insula.

Joe Powers is from Edinburgh, Scotland far outside the network of the grime capital of London. The Highland Mob, his debut EP, landed on Hyperdub last year, opening up his music to open-eared footwork and drum & bass fans as well as the grime crowd. He followed this up with a jungle-inflected EP on Om Unit’s Cosmic Bridge label, called Yes Boss, and will now release his debut album, Insula, which “switches the feel and intention towards a personal, and melodic music with one foot in grime, infused with often comic, often wistful recorded moments from his environment.”

Tracklisting

1. Restart

2. Apple Juice

3. Kontinuance

4. 2L

5. Achiltibuie

6. Scotch Precog

7. Pints

8. Dopamine

9. Punishment Exercise

10. Dish Washing

11.Vaudeville

12. Future Headache

13.Hoax Nos Trinit

14. Evil Spirits

15. A Like Ye

16. Mourn Non Did

Insula LP will land on June 8, with “Apple Juice” streaming in full below—or here for EU readers due to temporary GDPR restrictions. 

CRVEL “VEO II”

CRVEL is the collaborative project of P.E.A.R.L. and Tensal, whereby the two producers aim to create “cyclical weapons for the most obscure dancefloors.” We’re told to expect raw synth lines, crispy high frequencies, continuous sequences, and plenty of details and subtle twists that keep the flow going. Their debut EP, out June 15 via Falling Ethics, features “four exercises of futuristic techno with no turnabouts, straight to the point with a timeless attitude.” 

In support of the release, you can download “VEO II” in full via the WeTransfer button below—or EU readers can stream here and download here due to temporary GDPR restrictions. 

Tracklisting

A1 / 1. VEO I

A2 / 2. VEO II

B1 / 3. VEO III

B2 / 4. VEO IV

Hot Chip’s Alexis Taylor Shares Wild New Matias Aguayo Remix, Announces US Tour

Alexis Taylor has announced a US tour and shared a remix of “Beautiful Thing,” the title track from his recent album on Domino, by Matias Aguayo.

Alexis’ latest album, Beautiful Thing—released back in April on Domino—presented a collection of hazy, strange, and, at times, dark electronic ballads full of heartfelt songwriting. The record was the first solo album Alexis had made with a producer, with the Hot Chip frontman enlisting Tim Goldsworthy, co-founder of Mo Wax and DFA Recordings, to produce it.

With the album now on the shelves, and following a recent set at London’s All Points East festival, Alexis has announced a US album tour set to kick off this week, which find Alexis accompanied by Susumu Mukai (aka Zongamin) on bass and Leo Taylor (The Invisible, Floating Points) on drums. 

Alongside the tour announcement, Alexis has also shared a remix of the album’s title track by Matias Aguayo, which finds the Cómeme label head in wild, unhinged form, as Alexis explains:

“I first came across Matias as he was performing an amazingly funky, wonky and wild percussive live set in Calvi, Corsica many years back. I then became a fan of much on his Cómeme label. It is a real privilege to hear his very raw and impassioned new take on ‘Beautiful Thing’ featuring his own vocals, revised lyrics, and grinding, pulsating grooves. So much more than a remix!”

You can stream the remix below, along with Alexis’ tour dates. 

Due to temporary issues regarding the GDPR, EU readers can stream the remix here. 

Tour Dates:

June 8 – Troubador, Los Angeles w/ support Annie Hart (of Au Revoir Simone)

June 9 – Great American Music Hall, San Francisco w/ support Annie Hart

June 11 – Doug Fir Lounge, Portland w/ support Annie Hart

June 12 – Barboza, Seattle w/ support Annie Hart

June 14 – Empty Bottle, Chicago w/ support Annie Hart

June 15 – The Loving Touch, Ferndale w/ support Annie Hart

June 16 – Horseshoe Tavern, Toronto w/ support Annie Hart

June 18 – Elsewhere, Brooklyn w/ support Moon Diagrams (Moses of Deerhunter)

June 19 – Johnny Brenda’s. Philadelphia w/ support Moon Diagrams

June 20 – U Street Music Hall, Washington w/ support Moon Diagrams

July 20 – Bluedot festival, Macclesfield

September 1 – Electric Picnic, Ireland

September 8-9 – Festival No 6, Portmeirion

September 8-9 – Lollapalooza, Berlin

September 18 – Badaboum, Paris

September 19 – Artheater, Cologne

September 20 – Bitterzoet, Amsterdam

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