Premiere: Stream Maelstrom’s Haunting Debut Album in Full

Back in March, XLR8Rannounced the debut album from RAAR co-founder Maelstrom, titled Her Empty Eyes.

The LP is a stunning representation of Maelstrom’s evolution and history as a producer, presenting 11 tracks that sit in the nether regions between techno, industrial, and ambient. Harking back to Maelstrom’s love of graphic novels, Her Empty Eyes is a score to an imaginary novel taking place between 1936 and 1939 in which a female photojournalist named Maria navigates and documents war-torn Spain. Along the way, after investigating the murder of Jose Robles, she meets John Dos Passos and Ernest Hemmingway at Hotel Florida in Madrid, Georges Orwell and Buenavaentura Durruti on the frontline, and anonymous volunteers of the International Brigades in Barcelona. As Maelstrom describes: “This is not a metaphor nor an essay, this is the outline of a story. It’s the listener’s place to make sense of it. The context is a civil war. The characters are a photo-reporter, famous writers, and anonymous heroes, and my music is its soundtrack.”

The album is at once fierce, tender, meditative, and haunting, a beautiful collection of tracks that play out like a sonic film. Ahead of the May 19 release, you can pre-order the album here and stream it in full via the player below.

Podcast 490: Ben Lukas Boysen

Ben Lukas Boysen is a German composer, producer and sound designer—and an established member of the Erased Tapes label. Having debuted on the London-based imprint in 2016 with the re-release of his debut album Gravity, he then released Spells, a second LP that merges programmed piano pieces with live instruments, combining the controllable technical world and the often unpredictable aspects of live improvisation. Friend and fellow Erased Tapes artist Nils Frahm mixed and mastered both albums—but while Ben is not a master pianist like his dear friend, his sound collages are so meticulously designed that after hearing the result a clearly impressed Nils declared: “from now on if anyone asks—this is a real piano.”

Linking the two albums are the four movements of Nocturne, an ever-developing conversation that on occasion flirts with the grandeur of compressed rock drums. The lead single, “Golden Times 1,” received a world premiere by BBC 6 Music’s Mary Anne Hobbs, proclaiming it as “incredible.” An alternative version of “Sleepers Beat Theme” —composed for the soundtrack to a short film about the Trans-Siberian Express — opened Jon Hopkins’ Late Night Tales album from 2015, who noted “I thought it was such a calming and sensitive piece that sounded to me like the beginning of something…the warmth and depth of the sound entrances me every time.”

That is not to say, however, that Spells and Gravity are Ben’s only works: as HECQ he’s released nine albums since 2003, exploring everything from ambient to breakcore. He has simultaneously established himself as a trusted composer and sound designer, working for a wide array of clients including Amnesty International and Marvel Comics; composing for feature films, art installations, and most recently a Sony Playstation game, Everything.

Today, however, he shares something a little different. “Recording this session was a huge deal for me,” he says. It is, he continues, the first time he’s gone into the studio and recorded a jam session; all his music to this date has been programmed and written over time rather than improvised on the spot with a band in place. The result is a 30-minute composition featuring specially recorded versions of many of his favorite works, a special, special piece of work straight from his Berlin recording studio.

When and where did you record the jam?

The session was recorded at on May 4 at andere Baustelle studio in Berlin. It’s a quite special studio that’s a home to bands like EInstürzende Neubauten, Cobra Killer, and also the great Pan Sonic recorded there. A place of great history to already (even though I only started recording/rehearsing there in 2016).

Talk to me about the processes behind the recording.

Recording this session was a huge deal for me as I have never played live, let alone recorded a live session. In many ways, this is a special premiere. My music is always programmed and written over time, never really improvised or based on any kind of jam session—to translate these things into a group effort with Anne Müller (Cello), Achim Färber (Drums) and Maria Todtenhaupt (Harp) was extremely encouraging and also instructional for me as I understood the process of playing live a lot better.

We decided to pick a few tracks from Gravity and Spells and see how they feel and sound live, and the results were really nice! There will be more and new songs in the future, of course.

What equipment do you use?

Achim played this session on a Gretsch Vintage drum set from 1979 and Istanbul Mehmet Cymbals. Maria played her amazing Atlantide Prestige Harp by Carmac, and Anne combines her Cello with a number of pedals while I play the Moog Sub37, a variety of soft synths and at certain points piano. We’re still trying out different things and try to refine the constellation of instruments but this has worked very well so far.

How does the recording compare to one of your records or commissions—and how did the production process differ?

There are a lot of different aspects that were new to me in comparison to pure studio work.

When I compose I am consciously and deliberately alone, it’s a core element of my writing process. Obviously, this was different. I wrote most of these tracks alone. Seeing how they transform when three more people add their interpretation to a live situation was truly inspiring.

Another big aspect, which is somewhat related to my first impression, is that I highly welcome the input of Anne, Maria, and Achim. Their views on how a piece could work, what to do and how to tackle certain portions and structures were so helpful. In a way, all this turned into much more of an intellectual jam session and the music followed in a way.

You released your debut LP as Ben Lukas Boysen last year—have you got a lot more material on the way?

Yes, just recently a quite extensive score for David OReilly’s video game “Everything“ was released on Erased Tapes as well and there are some nice further surprises are waiting. In addition to that, I am working on new HECQ material as well and have finished most of it in the last weeks. Aside from that, I am always writing, especially when an album is just recently released or finished—the feeling of uncharted territory and musical morning air (as in…the time until you notice that you are actually writing another album) is the best.

How do you balance your studio work with Erased Tapes with other commissions?

That strongly depends on the month and how long projects take. There is often an overlap.

Commercial commissions very often have rather short deadlines so you can plan ahead very well. As I need time and the right mood for personal work, I have to take a few months off here and there to actually work on albums, so right now I try to keep a 50/50 balance between these mindsets—yet I notice I take about two-to-three weeks off a year so I have to work on that for sure, and this would be an important part of the year. Rehearsing more and seeing how this live session could be turned into something bigger is also on the list and will take up a good chunk of time.

What else have you got planned in 2017?

More music and at least one solid holiday—everything else is open and subject to change.

Tracklisting:

01. Nocturne 3 (XLR8R Live Version)
02. Sleepers Beat Theme (XLR8R Live Version)
03. Golden Times (XLR8R Live Version)
04. Nocturne 1 (XLR8R Live Version)
05. Gravity (XLR8R Live Version)
06. Nocturne 4 (XLR8R Live Version)

Sebastian Mullaert Prepares Apollo Records EP

Sebastian Mullaert is set to debut on Apollo Records with the All The Keys Are Here EP.

While most well-known for his widescreen melodic techno as one-half of Minilogue, Mullaert has had a busy few years with releases on Hypercolour,
Drumcode, Mule Musiq, and Kontra Musik, and also collaborations with Mathew Jonson, Eitan Reiter, Aril Brikha, and Ulf Eriksson.

According to the label, the four-tracker sees Mullaert draw upon an” organic palette of sounds, thrumming with intimate inner vibrations.” Originating from piano-based improvisations, the four musical excursions “embrace simplicity through repetition and
sparse arrangements that make for an ecstatic, enveloping listening experience.”

Two of the tracks—“Every Moment I Am” and “Earth Blossom”—were actually featured in Mullaert’s recent live collaboration with the Tonhalle Orchestra Zurich in Switzerland.

Tracklisting

01. Every Moment, I am
02. Earth Blossom
03. Visitor’s Path
04. Wings Of Remembrance

All the Keys Are Here EP is scheduled for June 23 release.

Andrew Weatherall Remixes Yello

Andrew Weatherall is set to release four remixes of Yello’s “Frautonium.”

The Britsh DJ-producer previously remixed Yello—a Swiss duo known for their post-punk and synth pop work in the 1980s—in 1992. For this latest release, he chose “Frautonium” from the duo’s latest LP and has reworked it four times.

A remix by Ian Tregoning completes the package.

Tracklisting

A. Frautonium (Warehouse)
B. Frautonium (Half-Life)
C. Frautonium (Battery)
D1. Frautonium (Reactor)
D2. Frautonium (Lombok Remix By Ian Tregoning)

Blank Media will release Frautonium on June 16, with a video for the “Warehouse” rework streamable below.

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Hessle Audio Welcomes Batu

Hessle Audio will release a new EP from Batu.

Hessle Audio—the label of Ben UFO, Pangaea, and Pearson Sound—is currently celebrating its 10th anniversary, and this will be this first release of the year.

Batu is a Bristol-based producer and the head of the Timedance label and events series,

Hessle Audio describe his EP as “four tracks of driving percussion and oddball atmospherics.”

Tracklisting

A1. Marius
A2. Off Court
B1. Nosema
B2. Don’t

‘Marius’ EP is scheduled for June 23 release, with clips streamable below.

Download a New Mix from The Mole

Disco, jazz, hip-hop, funk—all is fair game when it comes time for The Mole to pull either inspiration or wax for his house-heavy DJ sets and live presentations. Decades in, the Vancouver native is recognized as a relentless digger who is, he says, most at home behind a DJ booth during the wee smoky hours in the midst of long, drawn-out sets. The “more time for injecting a bit of Marvin Gaye here, some Mercedes Sosa there, the better,” he continues. And if you’ve ever had the chance to catch him in action—be it DJing or jumping from his MPC to a sole turntable—you’d agree: it’s difficult not to smile and appreciate The Mole at work, with an ear-to-ear grin on his face, wondering how in the world he’s getting paid for having so much fun.

On a production front, he boasts a long and colorful list of releases—for labels like Perlon, Ostgut Ton, Slices of Life, Haunt, Musique Risquée, New Kanada, Internasjonal, and longtime home Wagon Repair. But today, the elusive character is sharing a mix with us via the XLR8R channels. The 80-minute session is The latest in At Home with The Mole, a series of published mixes that feature various more home-listening records from his extensive selection. This one, he says, is made almost entirely of classic love songs. Enjoy as you will.

The Mole will be performing alongside Mark Ernestus’ Ndagga Rhythm Force, Kettenkarussel, and many more key names at Freqs of Nature festival. This year’s edition takes place from July 5-11 in Niedergörsdorf, Germany, with more information available here.

When and where was the mix recorded?

Ah … I recorded this at my place. I have a small series I’ve been calling At Home with The Mole which I guess this is a part of. I recorded it in the winter.

Could you tell us about the idea behind it?

Well, all these At Home with The Mole mixes have been a mix of the stuff I listen to at home. God, that was obvious, hey?

It’s made of home stuff, love songs, and warm uppers—sometimes they have narratives. There’s a love story hidden in the lyrics. He sees the dancing girl. “Follow the dancing girl,” he says. They meet. They fall in love. “So good when someone loves you back.” The turning point: “I know you care.” Strange thing to say to someone. Maybe a sad thing. “I know you care.” Then the breakup songs. I love those. “I am a bachelor, not by choice!.”I loved you more than you’ll ever know.” Then the turnaround. The light at the end of the tunnel, and naturally, the beginning again. “I need someone to love tonight.”

But this mix in particular … Oh, I just had another listen … It’s a sex thing, for sure, come on. Listen to that Barry tune. “Not one drop will be wasted”. It’s obscene.

How did you choose the records in it?

To be honest, I chose from the pile that’s closest to the turntables. There’s good stuff right there. There’s good stuff everywhere.

How does the mix compare to one of your club mixes?

Well, I did it at home—and so I played more homey stuff. I guess it’s a club warm-up, sorta.

What have you got planned for 2017?

Ah, OK. I’m gonna assume you don’t want to know about my new haircut and get straight to The Mole’s stuff. Seriously, I got a couple of EPs coming out in 2017. And an album. Zoink!

There’s an upcoming EP on Sound of Vast from Japan, a mix of old and new sounds. Also an EP on Circus Company from Paris. This has a collaboration with Tom Trago which I’m very proud of. And a remix from Aardvark. I am extra stoked to be with these Amsterdam legends. And “Little Sunshine” could be one of my best. So damn happy.

There’s an EP on Maybe Tomorrow coming soon, “Spicy Noodle, Man”. And an album on Maybe Tomorrow should be out in the Fall. Everyone tells me that I shouldn’t put out my own album, that it won’t get as much “traction” or the media will think I care less about it. It makes no sense to me. Frankly, I don’t care. It’s my label. Of course, I am putting it out. Diggers untie!

Wow, that is once again probably too much information.

Oh yeah, I almost forgot.. about the first release on the 7-inch sub-label I’m calling Maybe Tonight. Just like our label parties. First one is with Cristobal.

Shameless Seattle Announces Desert Hearts Showcase

For its third Memorial Day party, Seattle promoters Shameless will be hosting a showcase from the Desert Hearts crew.

Since launching in 2003, Shameless has hosted artists such as Modeselektor, Claude Von Stroke, Boyz Noize, Damian Lazarus, Egyptian Lover, Mike Huckaby, Jimmy Edgar, DJ Three, and John Tejada gracing the decks at club nights, after parties, and Decibel Festival events. With an eye towards cutting edge tunes, Shameless launched its label arm in 2013, with releases from, among others, Deepchild, Distal, Codebase, and Ghost on Tape.

For this year’s Memorial Day party, Shameless will feature multiple stages and a pre-party yoga session called Yo Yo Yoga. You can get tickets to the event below, along with the stage grouping.

3rd Annual Memorial DAY Hijinks – Desert Hearts Showcase <3

Monkey Loft – Seattle, WA, US

May 29 @ 2:00 pm – 10:00 pm

ROOFTOP STAGE
Desert Hearts Showcase

Lee Reynolds
Mikey Lion
Porkchop
Marbs

LOFT STAGE
Local Love

Jon Lee (Tilted Records)
GriffinGrrl (Uniting Souls)
Sharlese (False Prophet, KEXP)
Everett Leftside
Tyson Wittrock (Shameless)
Recess (Shameless)

Kamron Saniee ‘Pancha Tantra’

Back in March, NYC-based producer and RBMA 2016 alum Kamron Saniee released his first solo release, the Tantric DubEP, on VE-302.

Tantric Dub followed offerings from VE-302 curator Max Lange, Niklas Kraft, Konrad Wehrmeister, and Maxim Wolzyn with three genre-bending tracks that fuse oriental musical influences to a skewed electro-leaning framework; quite simply, it’s unlike anything we’ve heard before. Across the three tracks, Saniee marries gritty rhythms with confounding synth lines to create an otherworldly collage of beats.

Following Tantric Dub, Saniee will release three tracks (two solo and one a collaboration with Angus Tarnawsky) on the forthcoming Various Assets: Red Bull Music Academy Montreal 2016 compilation, with a live set—Saniee’s live sets range from 150+bpm rhythmic techno to downtempo textural dubby beats—in the works for the concert [performance 0630] presented by artsincubator at Mise-En_Place Bushwick on June 30.

In support of the EP and to give you a taste of his stunning sonic world, Saniee has offered up the EP’s closing cut, “Pancha Tantra,” as today’s XLR8R download, available via WeTransfer below.

You can pick up Tantric Dubhere.

Pancha Tantra

Premiere: Hear a Track from Kafuka’s New LP on Project Mooncircle

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Osaka-based artist Eshima Kazuomi (a.k.a. Kafuka) will release his new LP, Laws of Nature, on May 26 via Project Mooncircle.

Kazuomi’s work focuses on reprocessing samples, guitar recordings, and various field recordings, as well as algorithmically generated elements made using the audio programming software Max/MSP. The resulting music is a dreamy collage of evolving textures and emotive melodies, a cinematic style that nods to his work as a film score composer.

The new album looks to the pursuit of harmony in life, as Kazuomi explains: “To forget the pursuit of harmony. To recall the past to make a future. Forever seeing yourself reflected, feeding back in eternal repeating cycles. A dialog with oneself within the natural world. Choosing a final destination as the journey ceaselessly repeats. I hope to share what I’ve experienced in this big journey. I hope you will feel both a sense of nostalgia and a sense of newness. That makes our harmony.”

Laws of Nature comes out worldwide on limited vinyl (including download code) and limited-edition CD via Perfect Touch in Japan and can be pre-ordered here. Ahead of the release, you can stream album cut “Fine Rain” via the player below, along with the tracklisting.

Tracklisting:

01. Mustang
02. Fine Rain
03. Psychedelia
04. Saunter
05. Variance
06. Resolve
07. Forget Me Not

Intrinsic Completes Lineup

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As previously announced, the first ever Intrinsic Festival will take place in France this August.

Launched in London two years ago, Intrinsic has put on several events focussing on audiovisual and ambient themes. This summer, however, will see the first ever festival, to be held at Le Parc de Joséphine Baker in Castelnaud-la-Chapelle, France for a three-dayer this August.

Following the event’s announcement, the full lineup is now available.

Headlining will be Roedelius with Christopher Chaplin (live), Jan Jelinek together with long-time collaborator Masayoshi Fujita (live), and Astral Industries’ three-piece ensemble CHI Factory (live).

They’ll be joined by E/Tape, Shcaa’s live debut, SME (live); Dasha Redkina will be bringing her new project Zoya Zerkalski (live), and there will also be a performance by Baby Vulture.

In addition to this, there will be rare experimental sets from Nicholas Lutz and Praslea, as well as from Gwenan and Andrew James Gustav. Although popularly associated with club spaces, they are being called to deliver aspects of their work that are scarcely exposed and exhibited to the public.

There will be performances from Uruguay-based Melina Serser, Astral Industries’ founder Ario, Miss I (Romania’s first record store head), the Volks resident Vlada, and more, too.

Visuals are an integral part of the intrinsic events and extensive projection mapping pieces will be provided for the festival by Dreamrec, Coté, and Acca. They will be joined by Naturalgoritm, who will contribute installations and site production.

Included in the program are also artist residencies and live painting, daily sessions of Kundalini yoga and Vinyasa Flow, voice and mantra workshops, ceremonies, and healing arts.

The full lineup is below.

Audio

Roedelius and Christopher Chaplin (live)
Masayoshi Fujita and Jan Jelinek (live)
CHI Factory (live)
Andrew James Gustav
Ario
Baby Vulture
E/Tape
Gyorgy Ono
Gwenan
Katabasis (live)
Melina Serser
Miss I
Nathalia
Nicolas Lutz
Orphee
Praslea
Shcaa (live)
SME (live)
Vlada
Zoya Zerkalski (live)

Visuals:

Acca
Cote
Dreamrec

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Installations:

Naturalgoritm

Mantra Workshops, Ceremonies, and Healing Arts

Ilhem
Lani Rocillo
Laurelene Chambovet
Marta
Maxwell Reynish
Mukhande Kaur
Païkan Dancing Deer
Pietro Platania
Valentina Loyaco

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For more information on the event and tickets, head to the Intrinsic site, with a Q&A with the organizer is below.

A teaser video for this year’s edition is playable above, with a recording of Jan Jelinek taken from a previous Intrinsic event all below.

Intrinsic has a remarkable reputation. Can you tell us about the concept behind it?

The concept behind Intrinsic is elevation and healing through limitless experimentation with the arts. For the past two years, we have been presenting immersive audio-visual events in London taking form in the ambient/experimental field. By providing a welcoming space, high-quality sound, and carefully curated bookings, we aim to bring together like-minded people within an intimate setting.

Our events combine a mix of live performances, soundscapes, visual mapping (projected onto structures), art exhibitions, gong baths, and they seek to explore the endless possibilities of immersive art. For us, Intrinsic is just as much about vibrations, intentions, and the environment as it is the actual performances that happen. Everything is connected.

Previous events were small, intimate, and took place in London. Intrinsic is now making the move to France. Why the switch?

After being contacted about potentially putting on an event in Dordogne, the idea of a three-day festival suddenly became an exciting possibility to expand our concept. Following our first site visit, we realized how magical the space was, and felt strongly that this was the next step for us to take.

The Parc of Josephine Baker is an ideal place to deliver Intrinsic; not only is the park incredibly beautiful and surrounded by nature (neighboring the Dordogne river and overlooked by the Château des Milandes castle), but it’s also steeped in a rich history.

As a site that promotes the arts and culture and has previously held world peace talks, we felt aligned with the ethos and energy of the place. The park also has all of the amenities that are needed for such an event—a bar, music hall, restaurant, camping space, even a swimming pool—so really, we cannot think of a better place to hold what we hope to be a memorable weekend.

We will continue our focus on keeping the atmosphere intimate, with a capacity of around 400 and ensuring that audience and artists are close to each other.

The artists playing at Intrinsic are extremely supportive of you as curators. What do you feel makes it so special for them?

We offer artists, whether musical or visual, the freedom to experiment and explore their craft on a deeper level. Such trust and freedom allows for artists to both elevate themselves and the people they are performing to.

When sound and visuals organically blend in relation to each other, a whole universe opens up that people co-create and are part of. This new space of experience is only possible when all factors are aligned—the artists, the listeners, the space, and the collective energy. I believe these vibrations and intentions are recognized—both from the artists and the audience. Maybe what makes Intrinsic special for them is that this is quite rare.

The lineup features DJs as well as some of electronic music’s most respected pioneers. Who are you most looking forward to seeing play?

What can we expect from the DJs? I have curated a lineup with dear friends consisting of past, present, and future influences and inspirations. I am looking forward to each and every performance. Intrinsic is free of predictable performances. I don’t have any expectations. I hope each performance complements each other and brings its own unique atmosphere. What people should not expect is a dancefloor; besides this, the sound direction is a matter of individual character and response to our themes such as Peace, Earth, and Universe.

Aside from music, the festival has a strong visual element as well as workshops such as yoga and contemporary dance. How do they all combine?

Visuals and sound complement each other aesthetically to give us a more immersive experience, while well-being activities raise our awareness. This is the core of the project: sound, visuals, nature, and well-being. Yoga and the wellness workshops bring us closer not only to ourselves and our own bodies but also closer to nature. It bridges the gap in a world that seems to be increasingly separating humans and the environment.

There will be daily Kundalini and Vinyasa Flow yoga sessions in the park as well as voice and mantra workshops, and healing arts. We do not often consider our mental and physical state in relation to experiencing art, but it’s worth questioning whether these things can positively impact our relationship with sound.

Visuals are an integral part of Intrinsic and are just as important as the music. We have invited three talented visual artists who we’ve developed long relationships with to the park this summer.

In the right setting and circumstances, “performance” and “experience” can extend beyond the simple points of when the music starts and stops, and spending three days in this kind of environment makes the potential of this immersion a more powerful possibility.

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