Nabihah Iqbal has dropped her Throwing Shade alias for a debut album on Ninja Tune, titledWeighing of the Heart.
Nabihah has hosted a bi-weekly show on NTS since 2013, exploring the musical traditions of different countries. Her first release was on Kassem Mosse‘s Ominira imprint in 2013. Following on from that, she put out two EPs on No Pain In Pop, a dance 12″ on Happy Skull, and Ninja Tune released her House Of Silk EP in 2016.
Iqbal boasts a MPhil (focused on African history) from Cambridge and has experience working in human rights law. She previously hosted a four-part series Relocate for i-D Magazine, and has received several commissions from other corners of the arts where she has collaborated with Chinese artist Zhang Ding, was asked by the Tate to compose music for the Turner Prize, collaborated with Wolfgang Tillmans as part of his Tate Modern exhibition, and was recently involved in a group performance at the Barbican as part of its major Basquiat retrospective.
The label describes Weighing of the Heart as a big statement in two ways: first, because Iqbal has taken her real name to stand proudly as a female British Asian artist making music; and secondly, because she’s moved her music in a bolder, more expansive direction.
The title of the release alludes to an Ancient Egyptian myth about judgment and the afterlife, the concept of which underlies various ideas that are explored throughout the album. Making her first long-player with these themes in mind, she’s honed a sound with a greater focus on live instruments, of which she has played them all. A notable addition to the sound is the guitar, which she’s been increasingly incorporating into her live shows. Often fed through heavy effects, it provides a counterbalance to the soft-focus, hazy aura of the record.
Tracklisting
01.Eden Piece 02. Something More 03. Saw U Twice 04. In Visions 05. Alone Together 06. Zone 1 to 6000 07. Feels So Right 08. New New Eyes 09. Slowly 10. Eternal Passion
Weighing of the Heart LP will land later this year, with “Something More” streaming in full above.
After the German originators Basic Channel, Rod Modell’s DeepChord project is the standard bearer for dub techno. The American producer is a specialist of this atmospheric, ambient type of 4/4, informed by the Jamaican dub studio techniques of delay, reverb, tape echo, and all-around desk wizardry. Modell also has an ear for sound design that puts him one step ahead of the competition.
Michigan, USA’s DeepChord was originally a duo, but fellow producer Mike Schommer left the outfit in 2002. Auratones is Modell’s latest work and it’s a marvel of aquatic reverberations and immersive power, the equal of his classic albums for Modern Love, Astral Industries, and regular home, Soma.
Unlike Modell’s previous material, it’s less in tune with actual dub. Whereas tunes such as “Celestialis” from 2007’s The Coldest Season featured a pronounced dub reggae organ echoing off into infinity, those features are absent here. Auratones, in fact, resembles more closely his 2014 Lanterns LP for Astral Industries, which mixed a new age ambient mysticism with funked up excursions into techno—such as “Red Lantern Part 1″—rather than his last artist album for Soma, Ultraviolet Music, which is a generally more dancefloor leaning affair.
On Auratones, “Varanasi” is a swirling mass of synth smears and susurrating frequencies, from which emerge liquefied dub chord clangs. “Portofino” begins with caressing pads, and distant spoken word vocals, before a speedy kick underpins an abyssal dive into meditative sound. “Point Reyes,” named after the wide-open hills and undulating landscape of the California coast near San Francisco, is a more upbeat track, where crisp snares, percussive touches, skipping hats, and a lush techno chord riff combine to create alchemy. “Devil Ray” takes a memorable lead line and ratchets up the beats, with flying hats and tough kicks, while a great morphing scene of delays and granular textures mutates in the ether.
Modell’s great ability is crafting virtual spaces. Auratones floods the listener with blissful electronic oceans of sound, stimulating the imagination. “Roca 9” is an entirely ambient piece, a new age creation that offers a balm from the stresses of 24-hour connectivity in a technology-obsessed world. “Azure” brings the drums back, with a submerged breakbeat this time, but the ambient tones are even further out.
As Basic Channel began in Berlin as a response to both the dub techniques of Jamaican reggae and the sounds and rhythms of Detroit dance music, DeepChord began near Detroit in tribute to that European hybrid. Today, DeepChord has very much a sound of his own that chimes with the popularity of ambient music now. Apart from the occasional track (such as “Devil Ray”) Auratones is not aimed at club DJs, but at the sofa surfers and headphone dreamers who enjoy getting lost in seas of reverb and echo. It’s an impeccably made modern ambient record that sets the bar high for dub techno’s sound sculptors.
Tracklisting
01. Fog Hotel 02. Moving Lights 03. Wind In Trees 04. Lagonda 05. Varanasi 06. Portofino 07. Point Reyes 08. Underwater Galaxies 09. Roca 9 10. Azure 11. Devil Ray 12. Signals
Auratones LP is scheduled for October 20 release, with “Signals” streaming in full below.
“I wanted to break all structure, to see if all form can be destroyed,” says K-X-P frontman, Timo Kaukolampi, of his debut solo album. A desire to deconstruct convention is not a new thing for Kaukolampi, given that the Finnish band has been blurring the lines between techno, krautrock, space rock, and experimental electronica for the last decade and forging an idiosyncratic and unique sound truly of their own.
While K-X-P remains a strong and evolving force, Kaukolampi has created an outlet for something new in his solo endeavors. “I wanted to make music that has more space in it than I usually do. That captures this lonely sense of emptiness, of euphoria and beauty—a deep sadness”, he says, before wrapping up, “It’s a conversation between good and evil, beauty and brutality, and it’s most definitely my inner journey.”
The album was recorded primarily in Helsinki with some parts in Berlin and mixed by Valgeir Sigurðsson‘s Greenhouse Studios in Reykjavik / Iceland. The tracks for the album were distilled down from between 50-70 “jams” that Kaukolampi had been working on over the years. The solitary working process allowed Kaukolampi to think more carefully about his own definitions of techno and whether what he was creating fit into the typical conventions of that genre. The answer, unsurprisingly, was no. “I love techno but I guess the techno I make does not really suit any genre at the moment. Techno for me means sci-fi, cosmic realms, a sense of the inner journey. Like the dark side of new age music.”
Whilst this record may struggle to land neatly into a pre-existing genre, it does pay tribute to one of electronic music’s pioneers. “Epiphyte (Requiem for Mika)” is a segment of the record that pays tribute to the late, and truly great, Mika Vainio. Musically it gently hums, evoking a mournful and emotive tone in its vast richness and depth. It is named after a strange plant he found in a friend’s garden in Portugal but Kaukolampi felt its tone felt familiar. “ I realized that it had that Mika Vainio-type song title vibe so I dedicated it to him. He was an amazing talent and good friend. I miss him a lot. We all do.”
Tracklisting
01. The Prodigal Son of Magnesia 02. Three Legged Giant Centipede 03. Epiphyte (Requiem for Mika) 04. The Bottomless Well of Forgotten Secrets 05. Public Execution of the Sleeping Lotus Eater
I is scheduled for release via Svart Records, with “Three Legged Giant Centipede” available to download in full via the WeTransfer button below.
WeTransfer have launched a new podcast series with Gilles Peterson interviewing his favorite DJs on the Psychology of DJing.
The series features intimate chats with Seth Troxler, The Black Madonna, Cassy, Craig Richards, and IG Culture on their lives as DJs and the mental successes and pitfalls behind the artform. Each episode will be between 18 and 28 minutes long, and will touch on both practical and personal aspects of the life of a professional DJ.
You can check out the microsite, which houses the interviews and more information on the project, here.
Waveland is the new album by Andrew Morgan (a.k.a. one half of experimental rock duo Chinese Girls and Ettiem) under his Country Florist moniker, out on October 20 via Drawing Room Records.
The album is a collection of 11 rhythmic tracks that are as suited to home listening as they are the club. Jazz-tinged drums roll around on top of low-slung grooves with deep melancholic chords and playful samples thrown in for good measure. It’s an inspired and twisted take on house music that keeps the head nodding well into the night.
In support of the forthcoming release, Morgan and Drawing Room have offered up “Devil You Know,” a raw beat-driven cut, as today’s XLR8R download, available via WeTransfer below.
Durban producer Emo Kid will release his debut EP, Gqomtera, on October 27 via Gqom Oh!.
The title, Gqomtera, refers to a slang term Emo Kid and his peers use for the music, but the tracks on the record actually explore the rhythms of sgubhu, another strain of South African dance music that shares many stylistic cues with gqom—although, sgubhu is always written with a 4×4 beat. Whatever the term or genre, the music on Gqomtera is stylish, groovy, and immaculately produced, insatiable tracks that reflect the raw, gritty nature of Durban and an exciting artist now on the map.
Ahead of the release, you can stream “Futuristic Gqom” in full via the player below, with the EP available to pre-order here.
Next month, Tact Recordings will launch their new vinyl only sub-label, Tactics, with Yard One‘s Tactics Vol.2.
Launched by Yard One (a.k.a. Jordan Bruce and Larry Jones) and Richard Fletcher (a.k.a. Adventures In Daydreams and Fletcher), Tactics is inspired by the 2012 Tact Recordings VA, Tactics Volume 1—which featured cuts from Isherwood, Per Boisen-Moller, and Luke Black—and will focus on a stripped-back minimal sound from the label heads and their close friends.
The first release, although not yet officially out in the world, is already picking up steam with some of house and techno’s heavy hitters, such as Raresh, Thule Records head Thor, Galcher Lustwerk, Cinthie, and Vlad Caia. From melancholic hypnosis of EP opener, “Avenoir,” to swinging, jazz-inflected grooves of “Granular Movements,” it’s easy to see why it’s causing quite a stir on floors the world over.
Ahead of the release on November 17, you can stream “Avenoir” in full via the player below.
Magda is another one of those artists who shouldn’t really need an introduction.
Born in Poland and raised in Detroit, Magda has soaked up the various characteristics of her surroundings, learning to find beauty and potential in the most derelict and depressed of places. She became fully immersed in Detroit’s underground scene, and soon joined Minus and began touring the world as Richie Hawtin‘s opening DJ. She honed her skills under the Minus umbrella but since has forged her own path, including almost a decade spent running the popular label Items & Things together with Troy Pierce and Marc Houle.
Today she boasts a touring schedule as busy as anyone out there. She’s a consistent yet adventurous performer, with a fine reputation. As a producer, she’s less prolific but releases do land here and there. In the fall of 2010, she revealed her debut on Minus, From The Fallen Page. It combined her love for Italian horror composition, Detroit techno-futurism, and straight-forward dancefloor functionality into a body of work that still sounds fresh today. She has also remixed the likes of Plastikman and Depeche Mode.
Collaboration has become a vital part of Magda’s studio work. Most recently, she has worked with T.B. Arthur, releasing a 12” of hard-hitting, modular acid under the name Blotter Trax. The duo also performs live together. Also grounded in the concept of collaboration is her new event series, PERM. It began with a string of successful events in Berlin over 2016, all exploring innovative visual and musical ideas, and soon will branch out to become a record label with the same ethos. Off the back of another stellar few years, we invited Magda to answer our 20 Questions.
I just finished a South American tour and am now focusing on learning how to use the new gear I got for my studio.
2. What’s the most fun thing you’ve done of recent?
Cooked a big meal for a bunch of friends yesterday. I find cooking to be really relaxing.
3. What was the first record you ever purchased?
Ha! It was Lionel Richie “Dancing on the Ceiling” when I was nine and first arrived in America.
4. How much time do you spend organizing your digital files before a gig? How do you organize them?
I spend quite a lot of time organizing files, doing edits, and preparing tracks. My digital files are organized by month and year which makes it easy to go back as far as two decades and look for tracks to play or see what I was playing then. For gigs, I don’t plan anything but I do make folders with categories to choose from such as “techno,” “minimal funk,” and “after-hours,” just as examples.
5. What do you think separates a person who can beat match and has a nice record collection from a great DJ? What’s the missing link?
A great DJ has the knowledge and sensitivity to read a crowd and know what to play and when, as well as how to build and hold a vibe instead of just playing cool records.
6. How did you learn to make a set flow nicely? Is it just experience?
Lots of practice in various circumstances but most of all from bad gigs. Being thrown out of my comfort zone (especially when I first moved to Europe) really taught me a lot. I wasn’t used to four or six-hour sets coming from the States and that taught me patience and most importantly how to build a groove.
7. How much do you plan your sets?
I buy new records every week so I have those to test among previous ones but planning a set has never been my thing. I’ve always been quite attached to the crowd and going through it together is better for me, especially since I never know how I will feel in any particular moment.
8. What’s the best piece of advice you’ve given or been given when it comes to music?
Stick to what your gut says and don’t second-guess yourself or follow trends.
9. Your PERM event series was quite a success in 2016. How do you try to differentiate from all the other events in Berlin?
First off, we wanted to create a cozy unpretentious living room atmosphere where PERM can sit at the crossroads of art and club culture, showcasing anything from an ambient performance to a left-field club set. A huge part of the project is its overall production quality with emphasis on sound and visual installations which change with each event so none are quite the same. It’s been a lot of work and experimentation but an amazing learning experience.
10. How do you choose artists for these events?
I sit down with the two PERM residents (Hamid and Baby Vulture) and we discuss who we think would work well. We are all in slightly different scenes so the end result is a nice balance between experimental, up and coming, and known artists.
11. Looking back, what was your favorite 2016 PERM event? Is there a set that stood out as particularly memorable?
To be honest, I enjoyed all the sets but if I had to choose one it would be Flanger. It was a very beautiful and deep jam between Burnt Friedman and Atom TM and also very interesting to watch technically.
12. What’s the connection between the PERM Label and the events? Will only label artists play the events or what?
I’m still working on the label at the moment which I would like to launch next spring. I’m asking the artists who have done the events to contribute or collaborate but it won’t be limited to just them. I want to keep an open mind but also echo both the experimental and clubby vibe of the parties.
13. What’s in store for PERM 2018?
Taking PERM on the road! I want to find the perfect locations where the project makes sense and can really shine. Let’s see what develops.
14. How do you stay driven and motivated after all these years?
Monthly blood transfusions do the trick 😉 j/k…. Being inspired by new music and new artists in various contexts is key. I can’t just sit in some comfy techno bubble.
15. What’s the longest DJ set you’ve ever played?
I’m not as hardcore as some friends who can do 35-hour sets. The longest I have gone is 14 hours at Club der Visionaere back in 2004.
16. What do you think the electronic music scene could do with or without right now to push it forward?
It really could do with more versatility from promoters. Bookings are still so heavily based on social media popularity or things like the Resident Advisor poll where oftentimes the lineups feel monotonous and too safe.
17. Who is an artist (alive or dead) that you would want to work with, and why?
Kim Gordon. She’s been such a versatile and interesting artist throughout the years and I’m fascinated by her work.
18. What’s the weirdest thing a fan has done to you or given you?
Someone gave me a giant velcro reptilian tail. It was amazing!
19. If you had to listen to one record for the rest of your life, what would it be?
Terry Riley Persian Surgery Dervishes. I could listen to this is any circumstance, state, or dimension.
20. What will you do after answering these questions?
I’m going to eat and then check out Inga Copeland who is performing around the corner.
Carl Craig will release a remix of the title track from Borderland’s 2016 Transport LP.
Closely following the release of the last Borderland single, the focus returns on Transport, the last collaborative album by Juan Atkins and Moritz von Oswald.
Longtime friend and studio partner of Moritz von Oswald, Carl Craig provides a new take on “Transport.” Extending and stripping the original sequence to its bone, the illustrious Planet E president also summons a stepping drum sequence and a swaying array of moving delays. This 12“ edit is cut on the A-side. The full version of Carl Craig’s remix clocks just above 20 minutes and is available digitally. Both are available to anyone who purchases the record, through the enclosed download card.
On the flip, DJ Deep & Roman Poncet rework Carl Craig’s remix, adding their signature grooves to full effect.
Tracklisting
A. Transport (Carl Craig Remix – 12-inch Edit) B. Transport (Carl Craig Remix – DJ Deep & Roman Poncet Rework)
Tresor will release Transport Remixed on November 3 on 12” vinyl and digital, with DJ Deep & Roman Poncet’s rework streaming below.
YokoO has shared a beautiful new mix, exclusively for streaming below.
YokoO is no stranger to house music in all its deepest forms. A studio head in the true sense, he spends much of his time pondering basslines and warm synth riffs.
As a DJ, YokoO embraces the dancefloor with a dynamic and honest approach. When you see him play, you can see a genuine love for what he is doing and that naturally feeds back to his audience, fuelling energy and the fever of the dancefloor. The warm melodies work with the heavy basslines to create a sound that is deep but still pumping enough to get a party started.
His latest mix, which can be streamed below, showcases all these qualities. It’s a quite blissful studio recording loaded with unreleased material.
“This podcast marks the end of a chapter and the beginning of a new one. Yet again, through countless emotions, it retraces some key moments of my life over the last few months. May you appreciate the depths of the journey and relate to it as profoundly as I do. All Day I Dream of unity.” — YokoO
