Kolomensky ‘Don’t Wait’

The next release on ИДА is an EP from the label’s co-founder Kolomensky, a Moscow-based DJ-producer. We’re told that the four original tracks maneuver between disco and techno with acid lines, progressive synth melodies, and chopped vocal samples. 

ИДА is record label from Moscow, which grew up from the local club night that is bringing one of the most prominent DJs from around the world to the city. This will be the label’s fourth release, following an EP from Panks. 

Tracklisting

01. Made It Work

02. Tension

03. Don’t Wait

04. I Did 1000 Shows

1000 Shows EP will land on May 25, with “Don’t Want” available for download via the WeTransfer button below. 

Download a Deep Mix From Concret

Concret have offered up a new mix for download and announced a tour.

As we noted back in January with the release of the duo’s seductive cut “Closer”—which was given away in support of the event of the same name—Concret is made up of Italo-Mexican musician, DJ, and artist Diego Angelico Escobar and Italian sound-designer, keyboardist, and producer Q-pha. Diego also runs Trafico Records, a label home to music from Metrika, Cubenx, Los Gatos Escobar, and, of course, Concret themselves. 

A regular on the Mayan Warrior and renowned parties such as Do Not Sit On The Furniture and Output NYC, Diego is the sole DJ of Concret, presenting a deep and hypnotic strain of electronic music that stays true to the duo’s releases on Roam Recordings, Phisica, and Nein Records, among others. This weekend past, as a duo, Concret also debuted a new live show in NYC, with dates in Mexico set for this weekend and Europe (London, Berlin, Paris, Istanbul, Tel Aviv, Lisbon, Athens, Mykonos, Ibiza, Milano, and more TBA) to follow. Information for the upcoming tour will be made available here. 

In support of the tour, Diego from Concret has offered up a special mix for download, composed entirely of music from the Trafico label—and much of it unreleased. You can stream and download the mix below. 

How has 2018 been for you so far?

Good Thanks, a lot of studio work, gigs and preparing a new multimedia live show together with my partner and audio engineer Q-Pha, the Mexican DJ Soni Ceron and the visual artist and director Alonso V. Benton aka Error 1322 (www.error1322.net).

When and where was the mix recorded?

In my studio in Mexico City during first week of April

What equipment did you record the mix on?

The mix is made with home equipment: Pioneer cdjs, an old Stanton mixer and recorded with a Tascam.

Was there a particular idea you were looking to convey?

Well, this mix is a personal interpretation of the mood I was looking for my label and that I finally found, the new sounds I fell in love with. Is a combination of what Concret sounds and what I think is valuable and interesting of the talents I’m crossing paths with

How did you select the records you included?

All the tracks in this mix are upcoming releases on my label Trafico Music.

What else do you have coming up this year?

I have the debut of the live show in Mexico and US and a long summer tour around Europe. I also have exciting new collaborations and some remixes and releases on labels I haven’t released yet.

Tracklisting:

01. In/Clan “Tun Tun” (Tkuz Remix)
02. Marat “Visions”
03. Cantor “Ethermin”
04. Concret “Fermata Gayol”
05. Tkuz “Transmission”
06. In/Clan “Guru”
07. Concret & Soni Ceron “Borders” (Cubenx Remix)
08. Cantor “The Chain” (Tyu Remix)
09. O’Keefe & Andy Rourke “Into The Forest”
10. Viks Lander “Pandora”
11. Concret feat. Natalia Clavier “La Mujer” (Isaac Soto Remix)

Noah Pred Shares Hypnotic New Video

Noah Pred has shared the official video for “Cascadian,” a cut from his latest LP, Concrescence. 

Concrescence was released back in March on Biotop, presenting a collection of tracks recorded on a wealth of analog hardware and using innovative digital processing, touching on textural electro, acid, and gritty beat-driven bass cuts. From the LP, “Cascadian” now gets an official video, pairing engrossing animation with the track’s hypnotic beats. 

You can watch the video for “Cascadian” above, with Concrescence available here.

Premiere: Hear a Menacing Bass Cut From L.B. Dub Corp

On May 18, Luke Slater will return under his L.B. Dub Corp alias with his latest album, Side Effects.

Side Effects represents the first released music under Slater house-focused alias since 2013’s Ostgut Ton album, Turner’s House, with the tracks written “over the last year between being on the road as P.A.S. and playing a few L.B. Dub Corp house sets, which naturally evolved into ‘Side Effects’ almost accidentally,” Slater explains. Like Turner’s House, the new LP navigates the realms between house and techno, with Slater’s notoriously heavy basslines, intricate percussion, and warped melodies featuring heavily. From the bouncy groove of “IELBEE” to the menacing tension of “Bass Machine,” Side Effects is yet another standout release from Slater’s house guise. 

Ahead of the release on May 18, you can pre-order Side Effects here, with “Bass Machine” streaming in full via the player below.

Tadd Mullinix (a.k.a Dabrye) Unveils Debut Album Under New Alias X-Altera

Tadd Mullinix will release a self-titled new album as X-Altera. 

Mullinix is best known for the hip-hop he makes as Dabrye and the acid-tinged house and techno under JTC. 

This latest project, his “most inventive to date,” is born out of a fit of rediscovery during which the Ann Arbor-based producer reconnected with the jungle he produced in the late ’90s as half of Soundmurderer & SK-1, revisited the forgotten B-sides of his drum & bass record collection, and fell back in love with the deep, melodic techno of Detroit and London. 

The 11-track album will land via Ghostly International. 

Tracklisting

01. Compound Extraprotus

02. Check Out The Bass

03. Pasco Richey Tiger

04. Parallel Rites (Kepler-452b)

05. In My Life

06. Impossible

07. Holotyd Neo-Optika

08. Shoreline (Can’t Understand)

09. Entry

10. Passivity Fields

11. Link Stratum Of Archipelagos (Digital Bonus)

X-Altera LP will land on June 15 via Ghostly International, with “Check Out The Bass” streaming in full below. 

Galdoors Boss Junes Inaugurates New Dote Imprint with Debut LP

Galdoors boss Junes will inaugurate his Dote label with his debut album, A View.

Galdoors is known for its tasteful and modest output with releases from Leif, Duckett, and Audio Werner. Junes has previously appeared four times on Galdoors, but this will be his debut album. 

We’re told that the eight-track album explores the “direct yet dreamlike sound” Junes has made his own. It features “crisp grooves and ghostly palettes,” and “reveals a broader range of nuanced vibe.”

The release will land on vinyl only. 

Tracklisting

A1. Balancing Act

A2. Second Wind

B1. Justified Fried

B2. Stop, Elate

C1. Packaging

C2. Two Sided Embrace

D1. April AM

D2. Spooked 

A View LP will land on June 18, with clips available below.

Leon Vynehall Shares New Single

Leon Vynehall has shared “Movements (Chapter III),” the latest single from his debut album, Nothing Is Still, scheduled for June 15 release via Ninja Tune. 

We’re told that the new album sees Vynehall digging deeper into the family history that has always inspired his most iconic tracks, whilst returning to his own musical roots. The album is dedicated to Vynehall’’s grandparents. Emigrating from a leafy south-east U.K. to New York City in the 1960s, their seven-day journey via boat from Southampton to Brooklyn, and the stories that followed, have only truly come to light upon the passing of his grandfather four years ago. What followed was a series of in-depth conversations with his grandmother to find out as much as he could about this part of his family history that was seemingly hidden in plain sight. It was written and predominantly performed by Vynehall with additional musicians including a 10-piece string section arranged by Amy Langley, Finn Peters (saxophone and flute), and Sam Beste (piano). 

The release arrives after Vynehall’s two previous double-vinyl EPs: 2014’s Music For The Uninvited for 3024 and 2016’s Rojus for Running Back, his most recent solo release. It will be his first appearance on Ninja Tune. 

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) 

Nothing Is Still will land on June 15 via Ninja Tune, with “Movements (Chapter III)” and “Envelopes (Chapter VI)” streaming in full via the players below. 

 

 

20 Questions: Molly

Molly is a DJ, producer, and label owner currently making waves in house music circles. Alongside compatriots such as Lamache, Zendid, Varhat, Robin Ordell, and Janeret, Molly is part of a new wave of French artists making their mark within the scene via carefully crafted musical identities. Many in this new generation orbit Paris’ Yoyaku Records, and it was Yoyaku’s sub-label AKU that released Molly’s solo debut, SB Relief, a groove-laced three-tracker that followed remixes on Rekids, Karlovak, and All Inn.

Although now an established producer, Molly’s most widely known as a skillful selector and curator, evidenced in most part by her long-standing residency at Rex Club, where she presents her monthly party HEAD_ON, which has hosted the likes of Delano Smith, Cassy, Fred P, Omar S, Losoul, Lawrence, XDB, Levon Vincent, and many more. With the Rex Club residency as a launching pad, Molly has gone on to be a regular fixture at institutions around the world, including Panorama Bar (Berlin), Circoloco (Ibiza), Robert Johnson (Frankfurt), S.A.S.H. (Sydney), Awakenings (Holland), Piknic Electronik (Canada), Into The Factory (Sweden), and many more.

Taking her curational skills outside the booth, last year Molly launched RDV (Récit de Voyage), a record label that acts as a platform for her to cement her vision of house, presenting music from talented artist friends, artists she meets on her travels, and, of course, herself. The label has since gone on to release three records from Prophets of a New Generation (a.k.a. Michael Zucker & Pete An), Aybee, and Aleqs Notal and 1977, with a various artist compilation forthcoming, featuring cuts from, among others, Dana Ruh, Marion Poncet, DJ GLC, and Molly—you can stream Molly’s track below.

With Récit De Voyage Volume 1 on its way on May 21, we caught up with Molly for our latest 20 Questions to discuss her approach to production, the plans for RDV, and how she stays sane on tour.

Molly will be performing alongside Magda, Sonja Moonear, Ricardo Villalobos, Vera, Ellen Allien, Apollonia, Praslesh, Bella Sarris, Brothers Black, Anthea, Oshana, Topper, Varhat, Janeret, and many more at Prague’s UP Festival from May 11 to 13. You can find more information and tickets to UP Festival here.

1. Describe your surroundings right now?

I’m in Corsica right now. Between April and October, I spend half of my time between here and Paris. It’s the perfect place to chill and rest my mind, but I also organize a festival there (Cargese Sound Festival) so we have to start preparing everything for this, too.

2. What is your earliest musical memory?

At school when I was a child, I had a teacher who was a nun who used to make us sing with the right tone by putting her head on top of ours, her mouth above our skull, to get us to match the sound in our mind…I still remember her doing it but it never really worked on me 🙂

3. What was the first record you ever bought?

Michael Jackson’s Beat it.

4. I understand you discovered house and techno on a trip to London—can you tell us more about this experience?

I used to live in Toulouse in the South of France. I was studying Law and; Economics at the university there and spending the summer in London with a friend, having a little summer job and the rest of the time enjoying the city and nightlife, especially at the club The End—the place where everything started.

5. When and how did you start DJing and producing?

After that time in London, I came back to France, and with my friend bought a pair of turntables and started to buy electronic music on vinyl. We were sharing the turntables like kids—two weeks with her, two weeks with me! It was just for fun, to see “how it works,” but we got to DJ in some bars, playing some rock, disco, and electronic music stuff.

The production arrived many years after—I was very lazy at the beginning. I started by doing some remixes. It was the best way for me to learn, with a deadline, and the best way to force me to spend time on the computer. But I was working on the side and could not really take the right amount of time to spend on it. DJing was easier. Two years ago I left my job, so it was the time for me to get back on the production side.

6.Your 2017 solo debut on AKU followed a string of remixes on Rekids, Karlovak, and All Inn. Do you find the process of remixing different to producing solo material? If so, how?

It’s different, for sure, but like I said it was a way for me to learn production. Doing your own tracks and finding your own sound is a long process that I could only reach when I decided to spend time in the studio. Now that I feel very comfortable in the studio, I made lots of music recently and prefer to work on my own music than doing remixes.

7. When writing music, do you start with a clear idea in mind or do you jam until something sticks?

I prefer to jam until something sticks. I always go to the studio and decide to jam with the drum machines or synths and then I start a track like that.

8. How do you organize your music—digital and vinyl—for a gig?

Ah—the question! I am so disorganized…I am ashamed. I always prepare my record bag at the last minute, same for digital. It means that I prepare my bags or digital tracks with the feeling of the moment—which mood I am in and what kind of music I want to play: more house or more techno.

9. Do you have any go-to tracks for rescuing a dancefloor?

There are some tracks that work on every dancefloor, so yes, I have a few.

10. Do you have any pre-gig rituals?

Not a ritual, but right before playing I always try to “clean” my mind and feel peaceful. I sometimes meditate in the hotel room if I don’t have the time for a power nap when I am tired. It helps me to bring back the energy I need to play!

11. What do you do to stay sane on tour?

I try to sleep as much as I can. I am happy that I can easily fall asleep on the plane and also in hotels, even for a couple of hours. I’m not drinking that much usually—unless you bring me a good bottle of red wine 😉

I drink lots of green tea and eat fruit…I think lots of DJs do the same, too.

12. Looking back over the year, is there one gig that stands as the best you played?

I had many great gigs this year…. I had a great one recently in Barcelona for Brunch Electronic. My last set at Heidegluhen (Berlin) a few weeks ago was also magic, and I had a great experience at the beginning of last month in the Indian Ocean…I can’t name one in particular, because all of them are different!

13. Your new label RDV is approaching its third release—what’s in store for the label this year?

Yes true, the new release should be out this week, a split EP from two French guys Aleqs Notal and 1977. Next will be a release from Dana Ruh with a remix from me, and a digital compilation Recit de Voyage Volume 1, which will be coming out this month with music from newcomers, artists that I met during my travels, and also from some friends and well-known artists. After that, we have plans for another split EP, a 10-inch with two tracks from two great producers—but I keep this one as a surprise!

14. What is it about a track that makes you want to release it on RDV?

Music is about feelings. How does the track make you feel? If you have goosebumps, if it reveals some emotions, that’s a great sign. When I listen to the tracks, if the music talks to me and makes me feel something then it can be released on RDV! The music has to tell a story…this is something that I also try to do in my own tracks and sets.

15. What’s the best piece of advice you’ve been given in regards to your music career?

Nothing can be taken for granted!

16. What do you think the electronic music scene could do with or without right now to push it forward?

Nowadays the industry is more about what you do on social networks than the music itself. It’s really sad. I wish we could have like a year without Instagram or Facebook to see how it goes.

17. What were the last three books you read?

Marianne Vic “Rien de ce qui est humain n’est honteux”
Patti Smith “Mr. Train“
Albert Camus “La Chute“

18. What was the last thing that made you really laugh and why?

I was watching a French TV show named Groland. It’s very satirical, about society, our politics, people, and trends. It’s always very funny.

19. If you could only listen to one record for the rest of your life what would it be?

The neverending record? I would take Life by Pépé Bradock.

20. What will you do after answering these questions?

Going to buy some food to cook for my lunch.

DJ Koze ‘Knock Knock’

Score: 8.5/10

Hamburg, Germany’s Stefan Kozalla can’t resist the call of the weird. As DJ Koze, he’s been making offbeat and bewitching sounds for 20 years, swerving the conventional but always keeping an ear turned towards the dancefloor.

His musical journey began in 1993 as part of hip-hop group Fischmob and continued as part of sampladelic dance crew International Pony, but it wasn’t until he went solo as DJ Koze that Kozalla really began to wave his freak flag high.

Initially releasing through Cologne’s highly regarded electronic label Kompakt, Kozalla started to cultivate a unique melodic sound on records such as 2005’s Kosi Comes Around. It featured tunes such as the leftfield techno of “Estrella,” a deeply emotive piece that wove arresting string samples into bleeps and blips. Launching his Pampa label in 2009 with Marcus Fink, Koze’s releases got stranger as his renown as a club DJ grew, and were characterized by their found sound vocal samples, incongruous snippets, and touches of humor, mixed into deeply felt, emotional tunes. 2013’s Amygdala album saw him hook up with similar leftfield giants such as Caribou and Apparat, and contained bittersweet gems like the almost Arthur Russell-esque “Track ID Anyone?”, drawing samples from acoustic instruments in addition to more obviously electronic noises and vocals. Remixes are some of Koze’s best work: his version of “Bad Kingdom” by Moderat soldered an evil warping bass onto the melancholy synths and vocal of the original, adding garage referencing beats and samples of a trumpeting elephant to electric effect.

Koze’s appeal and audience have grown steadily over the years and his masterful mix of weirdness and dancefloor savvy, of inventiveness and melodic detail, has been sharpened. That’s evident on Knock, Knock, a record notable not only for its considerable length (16 tracks) but its sense of cohesion and staggering brilliance. Lead single “Pick Up” is the most straight up track on the record: a simple but devastating disco house tune, with a melancholy loop from a Gladys Knight song. It’s the kind of thing that’s so easy to get wrong, but this is produced to perfection: heart-tugging club dynamite.

“Pick Up” is atypical of Knock, Knock, as for the most part, it’s a more intricate affair, employing Koze’s familiar musical features, but in a fresh and striking way. “Colors of Autumn” is a lovely R&B funk piece, with lush guitar and soulful vocals from Speech (of Arrested Development), sounding a little like something Toro y Moi might make, if it wasn’t for Koze’s trademark buzzing electroid bass. By contrast, “Bonfires,” with its samples of Bon Iver vocals, harks back to his melancholic earlier material, with twisting acidic riffs and ominous sub-bass interjecting amid clouds of abstract synth.

Though Knock, Knock has a surprising number of guest cameos, they never feel forced, always contributing to the songs rather than dominating them. “Music On My Teeth” begins with a sample that states: “Time is a social institution and not a physical reality,” and proceeds into a hazy sunlit realm of psychedelic guitar and vocals from Jose Gonzalez. It’s a little reminiscent of The Avalanches, in its intricate meld of samples of warm feeling, and the spirit of that band seems to haunt Knock, Knock throughout. “Illumination” with Roisin Murphy finds her expressive voice draped over a breakbeat-laden cut with chopped up bass and bleeps, while “Muddy Funster” with Kurt Wagner (Lambchop) is a bittersweet hip-hop bump which finds that leftfield indie/country singer’s vocals manipulated with effects and dueling with an R&B vocal sample.

Knock, Knock is without doubt DJ Koze’s most accessible record, with a sheen that will certainly appeal to listeners outside the dance sphere. It’s also a definitive statement, combining his many influences into something that’s hugely enjoyable and emotionally resonant. Most important of all, it’s still very weird. And we wouldn’t want him any other way.

Tracklisting

01. Club der Ewigkeiten

02. Bonfire

03. Moving in a liquid (feat. Eddie Fummler)

04. Colors of autumn (feat. Speech of the band Arrested Development)

05. Music on my teeth (feat. José González)

06. This is my rock (feat. Sophia Kennedy)

07. Illumination (feat. Róisín Murphy)

08. Pick up

09. Planet Hase (feat. Mano le tough)

10. Scratch that (feat. Róisín Murphy)

11. Muddy Funster (feat. Kurt Wagner)

12. Baby (how much I LFO you)

13. Jesus

14. Lord knows

15. Seeing Aliens

16. Drone me up, Flashy (feat. Sophia Kennedy)

Knock Knock is out now via Pampa Records.

Evil Twin ‘The Rise’

We last heard from Italian duo Evil Twin in January of this year with the release of the stunning video for “Heaven,” a bass-heavy cut from their AYIN album on Italian/Portuguese label Shit Music For Shit People. Today, the duo returns with The Myth of Sisyphus, an album inspired by the Greek tale of the same name. 

With the release, the duo look to bring the tale and its message into a modern context, as they explain: “In Greek mythology, Sisyphus was the king of Ephyra. He was condemned to repeat forever the same meaningless task: pushing a boulder up a mountain, only to see it roll down again. The workman of today works every day in his life at the same tasks, and his fate is no less absurd than Sisyphus’ one.” Musically, the album flows through a range of emotive cuts, from synth-heavy ambient to haunted spoken word, post-rock, and electronica, delivered as a coherent whole.

In support of the release, the duo have offered up shimmering album cut “The Rise” as today’s XLR8R download, available via WeTransfer below.

You can pick up The Myth of Sisyphus here.

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