Daniele Antezza’s (a.k.a. Inner8) Holotone label will soon launch the Holotone Limites Series, “invented for the purpose to create a place for more abstract and deconstructed sounds, free from preconceived notions and format boundaries, changing from release to release with varying forms of content.”
The first release of the series is coming from Scald Process, a collaborative project among Stormfield (Combat Recordings label manager and half of the band Fausten) and various live instrumentalists and vocalists: Liam Noonan (violin), Luxul (viola / vocals), Eden Grey (piano), Mar Del Corral (vocals), Marco Donnarumma (Xth Sense).
Ahead of the EP’s September 18 release, “Ritual” feat. Mar Del Corral, Liam Noonan, and Eden Grey is exclusively available for download via the WeTransfer button below.
Dan Snaith was bitten by the dance-music bug years ago; one of his very first jobs in music was organizing DJ nights at his alma mater, the University of Toronto. But the producer could have easily forged a lifelong career outside of clubland via his work as Caribou, making and playing his gently unfolding, vaguely psychedelic, often pastoral version of idiosyncratic near-pop. Of course, he never totally abandoned up the clubbing thing—case in point: 2003’s “If Assholes Could Fly, This Place Would Be an Airport” (released under as Manitoba, his pre-Caribou moniker). But a combination of circumstances (befriending Four Tet, hanging out at fabric, producing a bunch of dance-orientd numbers that didn’t feel quite right as Caribou tracks, etc.) forced his hand. The joys of the dance floor—the synergy between the DJ and the dance floor, the electricity, the spine-tingling jolt of musical experiences that are impossible to find anywhere else—fully beckoned to Snaith, and in the early days of this decade, Daphni was born.
Following a diverse, highly regarded string of productions and edits, largely falling within the house and techno categories but frequently bursting out of those constraints, Snaith, under the Daphni guise, has now put together the latest installment in the fabriclive series. He’s stated that he often makes Daphni tracks in order to have fresh music to play in his DJ sets, but on fabriclive 93, he takes that methodology to the extreme. The set is made up of 23 all-new Daphni material and four new edits, but while some of the mix’s cuts were tunes he’d been working on for a while, others were cobbled together wholly on the fly as he spliced the mix together. The question whatever the technique,of course, is: is it any good? And while individual cuts might not quite reach the grinding grandeur of a Daphni track like “Ye Ye” or his hypnotic-yet-jacking version of Virgo Four’s “It’s a Crime,” the answer is: Yes, fabriclive 93 is good, very good.
These tracks are functional in the best sense—this is music that’s meant to be danced to, after all—but Snaith still lays down a full spectrum of sounds. fabriclive 93 veers from thrift-shop disco to beat-tension jazz, from Detroit-flavored techno-pop to dream-piano lullabies, from intimate reflections to hedonistic fist-pumps—with many of its tracks feeling achingly familiar, as if Snaith is reaching for some universal dance-music mythos.
That feeling of shared euphoric experience is present from the start. Opening cut “Face to Face” is a primitive, no-wavy basement-boogie delight that sounds as if it could have come out of an NYC basement club circa 1980; its stripped-down drums, in-the-red bass, and perky vocal chorus segue nicely into the rapid-fire tom-toms and in-your-face organ bursts of “Xing Tian,” a track that feels both jarring and natural. The addictive, melancholy chords of “So It Seems,” the rapid-fire arpeggios of the vaguely EBM-ish “Hey Drum,” the jazzy abstractions, somehow both delicate and delicious of “Nocturne”—these are tunes that see Snaith teasing out the best bits of club-music history while discarding the rest. Other highlights include the percolating, hollowed-out percussion and intricately plucked strings of “Ten Thousand,” the gossamer swirls of “Listen Up,” and the synapse-tingling chords of “Fly Away.”
There’s an occasionally helter-skelter quality to some of fabriclive 93′s transitions. There’s an undeniable glee to the Daphni’s edit of the Luther Davis Group disco rarity “You Can Be a Star,” for instance, but it feels a bit out of place sandwiched in between “Hey Drum” and the acidic jack of “Try.” Likewise, the soothing, dreamy “So It Seems” sidles awkwardly into the frenetic, Eastern-tinged “Screaming Man Baby.” But what some people might consider slight imperfections—basically, the human element made manifest—are a big factor in what makes a mix like this work. And besides, when a song like the joyous piano-houser “Fly Away” or the glorious, horn–infused “vs” cue up, who cares about transitions? fabriclive 93 might not be flawless—but it sure is fun.
Daphni will be performing at this year’s MUTEK Montreal alongside Lotic, Zip, Beatrice Dillon, Africaine 808, Fis, Robert Henke, Kuniyuki Takahashi, Aurora Halal, and more. More information and tickets can be found here.
Tracklisting
01. Daphni “Face To Face” 02. Daphni “Xing Tian” 03. Daphni “Carry On” 04. Jamire Williams “FUTURISM” (Daphni Edit) 05. Daphni “Poly” 06. Daphni “Ten Thousand” 07. Daphni “Medellin” 08. Daphni -“Hey Drum” 09. Luther Davis Group “You Can Be A Star” (Daphni Edit) 10. Daphni “Try” 11. Daphni “Vikram” 12. Pheeroan Ak Laff “3 In 1” (Daphni Edit) 13. Daphni “Listen Up” 14. Daphni “Tin” 15. Daphni “Moshi” 16. Daphni “Strange Bird” 17. Container “Dissolve” (Daphni Edit) 18. Daphni “Joli Mai” 19. Daphni “Nocturne” 20. Daphni “So It Seems” 21. Daphni “Screaming Man Baby” 22. Daphni “Vs” 23. Daphni “The Truth” 24. Daphni “406.42 PPM” 25. Daphni “Always There” 26. Daphni “Fly Away” 27. Daphni “Life’s What You Make It”
Fabriclive 93 is scheduled for July 21 release, with “Face To Face” streamable in full below.
Back at the start of last month, Greek duo Tendts—made up of brothers Christos and Fotis Papadakis—released their latest EP, It’s Everywhere, on fellow Greek label Lower Parts.
Since debuting in 2012, Tendts have released numerous EPs and albums on labels such as Project: Mooncircle, Nutty Wombat, Fair Weather Friends Records, and Lower Parts. The latest is a concept EP soundtracking Tendts’ “intergalactic encounter with The Pleiadians (dimension traversing Nordic aliens to the unenlightened) at the far edge of the universe.” Musically, the EP is as adventurous as its concept, ranging from tripped-out disco-infused house cuts to more gritty beat-driven outings—It’s Everywhere also includes a remix from Palmbomen II.
In support of the EP, the brothers have passed over “Don’t Be Silly,” a hallucinogenic percussive ride, as today’s XLR8R download. You can pick the track up below, with It’s Everywhere available here.
Ralph Maruani (a.k.a. Flabaire) is a French DJ and producer who has been releasing quality deep house since 2013, primarily via his own imprint D.KO Records.
Flabaire, who was born and is currently based in Paris, initially entered our radar in 2015; however, with the release of his first contribution to Organic-Music: the Berlin-based label known for its distinct take on funky, minimalistic deep house. Joining the likes of Nick Beringer, Diego Krause, and DoubtingThomas, Flabaire’s Esoteric Audio Research EP included three stellar works of dreamy, dancefloor-ready house that remain as some of the most sought after material to date within Organic’s impressive catalog.
Organic-Music has recently announced the return of Flabaire to the label; the artist is set to deliver another vinyl-only three-tracker, titled 4 Const, which will be available for purchase as of July 18. In anticipation of the release, Flabaire and Organic have offered up a full stream of EP track “Alpha 2.” The track is a true journey—six-and-a-half minutes of sunny chords, funky bass lines, and solid grooves that will work wonders on any open-air dancefloor this summer.
You can stream the track in full below. Pre-order the record by going here.
Panoram will drop his latest EP, The Question, via his own Wandering Eye imprint on July 21.
The Question follows on from a string of LPs on Origin Peoples (2016’s A Doom With A View), Wandering Eye (2015’s Background Story), and Firecracker (2014’s Everyone Is A Door) with five deep and eclectic cuts in his notoriously idiosyncratic style. Musically, you’ll find everything from hallucinogenic pop to melodic broken beat and loose, swinging funk, all filtered through an imaginative, care-free lens.
Ahead of the release later this month, Panoram has shared a video for the EP’s title track, available to stream via the player below. You can pre-order The Questionhere.
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The Berlin-based Canadian has become something of an Endless Flight regular; last year he released his third LP on the imprint, all of which accompany a catalog of EPs, too.
His latest EP consists of three new tracks and “Auf der Ufer,” a track he did with his Norwegian buddy Rune Lindbæk, that has not yet been released on vinyl.
According to the label, the three other tracks cross “different territories.” The eight-minute “Pumapunku” marries Balearic flair with otherworldly synth-spheres, while “Inner Piece” opens the house box with waving bass lines, furious chords, and some unexpected breaks. Finally, “Lonely Without You” is “a funky blue tune.”
Tracklisting
A1. Auf der Ufer feat. Rune Lindbæk A2. Pumapunku B1. Inner Piece B2. Lonely Without You
Auf der Ufer EP is scheduled for July 21 release with clips available below.
Every summer, thousands of Europeans invade Croatia’s stunning Adriatic coast in search of sunshine, beaches, crystal clear seas, and cheap cocktails. The nation’s ideal combination of breathtaking geography, historic architecture, reasonable prices, and accessibility to most major European hubs has formed Croatia into one of the ultimate summer tourist destination on the continent. Some have even gone so far as to dub the country “the new Ibiza,” and while similarities do exist, Croatia’s tumultuous history, charming local culture, delectable wine, and geographic expansiveness make the territory something all its own. This eclectic mixture has laid fertile ground for a dramatic surge in dance music-oriented destination festivals, which today count for a significant portion of all summer visitors to Croatia.
With this quick rise in demand, new event concepts continue to emerge throughout the region; however, over the past decade, a handful of veteran promoters have come to dominate the scene due to successful international marketing campaigns, financing, and consistently excellent lineups. A prime example is Hideout Festival: now in its seventh year, the growth of the weeklong event has paralleled that of the Croatian festival scene. What began as a small seaside gathering with just one venue has developed into a massive annual undertaking, complete with five open air clubs, corporate sponsors like Vodafone, more than 20,000 attendees, and over 150 artists spanning the contemporary spectrum of dance music.
Taking place on the island of Pag, a long and thin swath of land that juts out into the aqua blue waters of the Adriatic, Hideout sits only a few hours north of major tourist spots like Split, Hvar, and Dubrovnik. Having previously visited these larger Croatian leisure hubs only once during the sleepy off season, I was curious to explore this new area and observe the changes brought by Hideout and the summer festival period.
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When I arrived on Monday afternoon in the harbor village of Novalja—where most attendees stay during the event—I was immediately struck not only by the gorgeous backdrop of the location but also by the apparent influence of the festival on the town’s surroundings. It seemed as though the entire village had been annexed by throngs of UK festivalgoers donned in glitter, tattoos, high waisted bikinis, and short-shorts, and Novalja’s bars, restaurants, and fast food joints were eager to oblige them. It proved to be an interesting dynamic throughout the week: while the pervasiveness of the UK crowd was at times excessive (I was told at one point that roughly 90% of Hideout attendees are British), the reality of an entire Croatian village taken over by electronic music lovers made for a convivial and energetic atmosphere that was difficult not to enjoy.
Hideout’s musical offerings had already begun when I arrived, kicking off with warm-up parties on Saturday and Sunday and a brand new offering for 2017 on Monday: the Hideout Beach Party, which featured a headlining DJ set from seasoned London duo Basement Jaxx. Tuesday marked the start of the festival’s primary program, however, and so that afternoon I headed over to Hideout’s main festival site, Zrce Beach, a lovely strand of rocky seafront located approximately 10 minutes away from the Novalja center by shuttle bus. My first stop was Papaya, one of the five beach clubs that dot Zrce’s “strip,” where Jamie Jones was hosting one of his famous Paradise parties. Richy Ahmed’s energetic streams of thumping tech house whipped the growing crowd into a frenzy, acting as ideal preparation for the Hot Creations boss himself, who once again confirmed how effective the Jamie Jones sound has become in satisfying dance floors.
Seeking a break from the energy, I headed over to Euphoria: the smallest and most unassuming venue at Zrce whose only real draw is a small stage and solid deals on drinks. I was at once drawn in by the smooth, chilled-out disco and funk of Lander, who was followed by UK-based duo Mark Caramelli and Paul Hargreaves (a.k.a. Death on the Balcony). The rising All Day I Dream contributors dropped an impressive set of punchy, disco-laced melodic house that was the perfect soundtrack to the golden hour on the Croatian beach.
After a short nap and some food, I ventured back to Zrce Beach to check Hideout’s nighttime offerings. Starting things off at the house and techno-oriented Noa, a stunning, two-level wooden club that lies over the water, was Houndstooth regular Paul Woolford. I had high expectations for the Leeds-born producer, with his last release on AUS being, in my opinion, one of the label’s best of 2016—and he absolutely exceeded them, delivering one of the best sets of the entire festival: a seamless techno-disco fusion that was deep and driving yet warm and soulful. The crowd began to expand as his set winded down, and by the time Alan Fitzpatrick stepped up to the decks, Noa was completely packed and the energy high. There was a special quality about this final performance of Tuesday night: the juxtaposition of the Drumcode mainstay’s metallic, booming techno with the tranquil beauty of a sunrise on Zrce Beach was pure magic, and an experience I certainly won’t forget.
Rain and winds on Wednesday resulted in several boat party cancellations and a slower start to the day’s festivities, but by nightfall, things were back in full swing despite the persistent drizzle. After arriving at Zrce, I made my way over to Papaya to catch Gerd Janson’s performance, but was disappointed to find the club almost completely empty—a clear travesty when considering the skills and accomplishments of the Running Back founder, who had just played a delightful set at Panorama Bar the weekend prior. Meanwhile, at the adjacent Aquarius, popular London-based production trio Disciples pumped out one vocal tech-house banger after the next to a packed mass of fans. Back at Noa, festivalgoers quickly poured in to catch Brooklyn heavyweights The Martinez Brothers, who gave the crowd their usual vigorous combo of pulsing techno and house. Although admittedly formulaic, their set ended up being an appropriate precursor to Noa’s closing performer, Marco Carola. The Music On founder dropped three full hours of velvety techno, all the while displaying a sense of comfort and effortlessness on the decks—a poignant reminder of why this Italian DJ is widely considered a legend.
On Thursday, the glorious weather Croatian summers are known for had returned, and seeking to give my ears (and liver) a break, I decided to spend the day lounging on the beach in Novalja. With this decision, I realized one of the foremost benefits of attending a festival in this part of the world: when needing a brief hiatus from the music, there are countless activities available that can help you recharge. Whether it be a day spent on a secluded beach, a coastal hike, historic sightseeing excursions, or even a short boat trip to one of the adjacent islands, Croatia has everything you could want.
After a blissful beach day and a few drinks at a harbor cafe during sunset, I was ready again to make my way to Zrce, with my first stop being Aquarius for dubstep pioneer Skream. The prolific UK producer’s diverse and high-powered selections induced widespread rowdiness amongst the flock of dancers and set the tone for the forceful acts that followed, which included Hot Since 82, Steve Lawler, and Manchester-based tech-house export Darius Syrossian. Hoping to hear some more eclectic sounds, I rushed over to catch the end of Leon Vynehall’s performance at Noa, and the Clone and AUS artist surely delivered with a distinct and tightly woven set of tribal-house gems. Irish duo Bicep followed, showcasing a sultry brand of deep and groovy house—yet another reminder of why their FEEL MY BICEP imprint is one of the UK house scene’s best. Over at the Elrow stage at Kalypso, the original Zrce Beach club and the first to be used by Hideout in 2011, Eats Everything laid down an exhilarating blend of upbeat house and techno, the energy of which was only magnified by Elrow’s whimsical circus performers, confetti cannons, and hilariously shaped blow ups. Later, Life and Death core duo Mind Against finished things off at Noa with a polished selection of ethereal, epic techno.
Friday marked the final day of Hideout’s musical offerings, with the program starting in the late evening and going all night until 6 a.m. In celebration, Hideout organizers had invited BBC Radio 1 to broadcast live from the festival, taking over the entirety of Papaya with a slew of DJ sets and back-to-back performances from UK favorites like Dusky, Solardo, Skream, B. Traits, and Artwork. Noa once again appeared to be the go-to spot for more matured ears; highlights of the night included a superb set of jacking house from Unknown to the Unknown boss DJ Haus (Florian Kupfer’s new track ‘Post Present’ was especially moving), as well as solid performances from Glasgow favorite Jasper James, George Fitzgerald, and a miraculous closing set from Berghain / Panorama Bar regular Ryan Elliott. The final night proved to be the best of the week, both musically and vibe-wise; attendees and organizers truly let loose, which I took as an indicator of another Hideout well done.
Destination festivals are not always easy. They require planning, long hours of travel, and the additional expenses on flights, accommodations, and nourishment can be cumbersome. That being said, after spending a week at this year’s Hideout Festival, I realized the unique benefit of embarking on a destination festival trip—there is a genuine power that comes from combining two of the most mind-expanding experiences on offer: travel and music. Hideout organizers seem to have grasped this long ago. With seven years of experience now under their belts, they clearly have mastered the art of melding high quality, diverse electronic music with travel, while at the same time minimizing the aggravations that inevitably arise from this kind of experience. To any festivalgoer with wide-ranging tastes in dance music and a bout of wanderlust: Hideout should be on your radar.
Heisenberg is the label of Sasha Kaktus and draws its name from a small conceptual nightclub in St. Petersburg. This will be Dubfound’s first release on the label, having previously put out his music on Sleep is Commercial, Vinyl Club, and his own Nurum.
The label describes the three-tracker as “a bit electro and techno feeling but still deep & trippy as we like it.”
Once again, it is a vinyl-only release, with no digital promos or shares.
Tracklisting
A1. Down the road A2. Badcat B1. Get Stuck
In advance of the EP’s release, “Badcat” is available to stream below.
Fred P has shared a segment of his set from this year’s Comunité.
The second edition of Comunité Festival took place deep in the Mayan jungle at the sacred site of Cenote dos Palmas within the greater Parque dos Ojos. On offer within the stunning location was an exceptionally curated lineup featuring some of the top acts in electronic music.
The recording—a 73-minute segement—can be streamed and downloaded below.
Meanwhile, a photo gallery of the event can be viewed here.
Following two EPs, namely La Machina and Technopiano,” Fabrizio Rat has released his first album of hybrid techno, with an innovative sound palette.
The Pianist combines the acoustic sounds and weird harmonics of his prepared piano with the acid loops of the TB-303 and the beats of the TR-909. “I’m attracted to a certain type of techno, based on the purity of sound,” says the Parisian producer. “This music can really approach abstraction, the immateriality of thought and ideas.”
A track like “Aimard,” for example, is characteristic of this ambition, he says. “It’s a sort of tunnel. It does not develop apart from a few ‘turning points,’ in a similar way to lots of tracks by Jeff Mills, who has been a big inspiration to me for a long time. I feel attracted to his radical approach to techno and his taste of sonic exploration. Many tracks by him have an incredible character.”
Following the EP’s release on Blackstrobe Records, “Lupu,” taken from the EP, is available to download in full below.
