Terrence Dixon Announces 21-track LP

Terrence Dixon is set to release a new album, titled 12,000 Miles Of Twilight.

Following March’s Frequency vs Atkins Mind Merge LP featuring the collaboration between Orlando Voorn and Juan Atkins, Italian label Out-ER (Out Electronic Recordings) welcomes long-standing Detroit producer Terrence Dixon for this 21-track triple vinyl pack. It will be Dixon’s fifth album and follows his last Badge Of Honor released back in 2013.

Dixon has been putting out material since the mid-nineties. He is recognized worldwide for his visionary, futuristic sound which incorporates a diverse range of musical styles including electro, jazz, and minimal sci-fi techno. This approach can also be seen in his parallel project Population One, which appeared on Out-ER in early 2016 with two-tracker solo Temporary Insanity EP, as well as in late 2016 with Temporary Insanity Remixes which saw the label offering reinterpretations from Cosmin TRG, Pangaea, Voiski, and label co-founder Simone Gatto.

According to the label, 12,000 Miles Of Twilight “remains an experimental techno asset offering many tonalities of sound and provoking an array of emotion and sentiment.”The album, the label continues “offers a non-linear, emotionally absorbing journey into the singular experimental edge of the Detroit artist, pulling the listener in all kind of directions from the opening track to the closing finale.”

The artwork features photographs taken from a multimedia installation work built by London-based artist James Winter.

Tracklisting

A1. Inside Radio Room
A2. I Stay Posted Up
A3. Mission Incomplete
B1. In Orbit
B2. When At Home
B3. The Atlantic
C1. Control Panel
C2. Lost All Communication
C3. New York City
D1. Spiral In Control
D2. 12,000 Miles Of Twilight
D3. Bonus Coverage
D4. Uncondition Love
E1. Balance
E2. Rover
E3. I Salute
E4. Milky Way
F1. On High Alert
F2. Landing Unknown
F3. Matter Of Time
F4. Beams Of Light

Out-ER will release 12,000 Miles Of Twilight on July , with “Inside Radio Room” streamable in full below.

Jade Preps EP for Mobilee, Shares Track

Later this month, Mobilee will release the latest EP from Toronto artist Jade.

Following on from outings from label head Anja Schneider, Endor, and Ray Okpara, The Truth will land with two originals and a remix by Francesca Lombardo. The Truth continues an already stellar 2017 for Jade, who has had records land on Tenampa Recordings and Retune Music, as well as her well-received remix of Francesca Lombardo’s “Remembrance.”

The Truth is set to drop on April 28 and can be pre-ordered here. Ahead of that release, you can stream the beautifully melodic title cut in full via the player below.

Christian Smith Shares LIB Promo Mix

Tronic label head Christian Smith has shared a new mix in support of his performance at the upcoming Lighting in a Bottle festival.

Running off the back of last year’s Input-Output—his third studio album—Smith will play LIB alongside a cast of techno heavy-hitters including Richie Hawtin, Stephan Bodzin, Nic Fanciulli, Joel Mull, and Hernan Cattaneo for the festival’s Woogie Stage. The Woogie stage will also play host to, among others, tINI, Leon Vynehall, Guy J, Monolink, Julia Gover, Eagles & Butterflies, Lauren Lane, and Marques Wyatt.

Ahead of his LIB appearance, we asked Smith a handful of questions on the mix, the festival, and what’s on the horizon for himself and Tronic.

Tickets and more information on LIB can be found here, and you can stream the mix in full below.

Where and when was the mix recorded?
This is a live recording from a recent gig I did in Sao Paulo, Brazil. It was a proper old school warehouse party for around 4,000 people in one room. The vibe was amazing and I’m really happy to see that the Brazilian scene is embracing techno again.

How do you prepare/select your music for a gig?
I usually make a playlist before each show. That playlist normally has around 150 tracks in it. However, I often also open previous playlists during my gigs because I don’t want to be confined to what I plan in advance. It’s important to me to play the right track at the right moment and always do my best. So being prepared and always seeking new music and tracks most other DJ’s don’t play is very important to me.

You just released a collection of cuts from your Input-Output album on 12″ vinyl, do you still dig for and play vinyl regularly?
I do over 100 gigs a year in 20+ countries, so, to be honest, I mostly opt to play digitally just because I have such a wider and bigger music selection handy. However, I started touring in the vinyl-only era and do appreciate playing with wax from time to time. At the end of the day, it’s like driving a different car. Most important is the music that is played now, not how.

You usually seem to play all the top nightclubs when you come to the USA on tour. Have you ever played at a West Coast festival like LIB? Will you approach this performance any differently than your past American gigs?
I am really happy to be playing at LIB for the first time this May. The North American scene has improved a lot in the past few years and I think it’s cool that techno is being appreciated again as well. Not just the superstar guys that have always been playing in the USA, but also the other guys like me that tour the world on a yearly basis and play less commercial music. I will definitely spend a good amount of time preparing my set, but also enjoying myself at the party! It’s also nice to be playing right before my good old friend Richie Hawtin.

Are there any artists on the lineup you’ve been particularly influenced by? And will you stick around to catch any other sets?
I have been friends with Richie Hawtin for over 20 years and it’s always nice to catch up in different parts of the world. Last time we played together was in March in Guatemala! I am also good friends with Stephan Bodzin and am really happy to see that he is also getting momentum in the States. I will also, of course, see many artists that I don’t know or maybe haven’t seen before at a show or festival. I think this is one of the best things about open-minded festivals—to be able to explore new music and performers.

It must be hard to find the drive and time to run Tronic, Tronic Radio, studio time, and your touring schedule, how do you manage this?
A very understanding wife. I try to balance things by having a good team around me. It takes a lot of work to have a well-oiled machine these days. My career demands a lot of travel and time away from home, but if you love what you do it’s not bad at all. I feel privileged to be working with friends and also being able to push careers of new artists through my channels. I’ve been doing this for almost 20 years now and I feel it’s still getting better year by year.

Tronic is reportedly one of the top three selling labels on Beatport, what would you put this down to?
Passion, talent, and hard work. Also, I never looked at Tronic as a source of income. It was a hobby that turned into a very successful label. I still have the same criteria when choosing what tracks to sign as I did the very first day that I started Tronic. If I like it and play it in my sets, it qualifies for release.

What’s next for Tronic?
Lots of Tronic branded events ranging everywhere from Tokyo to Barcelona. Artist albums on Tronic by Japan’s Drunken Kong and Brazil’s Victor Ruiz. I really enjoy working on album projects because it gives the artist a chance to think outside the box and make more interesting music that you would normally not expect. It also helps the artist evolve. And of course a ton of rocking techno singles in between.

What else do you have coming up this year?
Besides flying around like a madman every weekend gigging, I am also working on a big collaborative project. I will be releasing an album in late September with around 15 collaborations. So far, I’ve made really cool tracks with Harry Romero, John Selway, and Victor Ruiz. I am also planning on working together with Pig & Dan and Drunken Kong and a couple more. All about keeping busy and doing what I love.

Higgins ‘Escape’ feat. Anishka (Ian Pooley Remix)

For its latest release, New York label Plant Music will feature the work of acclaimed Vermont artist Higgins, who links with singer-songwriter Anishka for his latest single, “Escape.” Alongside the original will be a remix package featuring reworks from a massive cast of artists including Ian Pooley, Teenage Mutants, and Unorthodox.

For their first pairing, Higgins—who is part of the accomplished house duo Kaviar Disco Club—and Sri Lanka-born, Los Angeles-raised Anishka deliver a laidback, downtempo house track with tender keys and a whole lot of soul. For his remix, which is being offered as one of today’s XLR8R downloads, Ian Pooley flips the track into a driving house cut that will have immense dancefloor power.

You can pick up Ian Pooley’s remix via WeTransfer below, with the full EP available to purchase here.

Escape feat. Anishka (Ian Pooley Remix)

Premiere: Hear a Haunting New Cut From Bungalovv

On April 28, Infinite Machine will release the debut EP from Argentinian producer Pablo Betas (a.k.a. Bungalovv).

Titled Luz Mala, the EP—which precedes an in-progress 2018 LP—presents six original cuts that illustrate Betas’ take on his home country’s sound, a dystopic, folk-like take on outer-club sonics. Like most of Infinite Machine’s back catalog, there’s a heavy focus on otherworldly sound design and deeply woven textures, it’s confrontational music that finds a way to be warm and devastating in equal measure.

Betas is a key member of Argentinian label and collective TRRUENO and will be touring the US under the Bungalovv moniker in the fall.

Ahead of the release of Luz Mala, you can stream EP cut “Fúrcula” in full via the player below.

Ohm & Octal Industries ‘Athena’

Earlier this month, Icelandic techno pioneers Ohm & Octal Industries provided the first release of 2017 on Kevin Arnemann and Daan Kemp’s Amsterdam-based Taped Artifact label.

The Maoss EP followed the label’s recently released various artists compilation with four deep techno cuts. Showcasing the iconic Icelandic aesthetic, each cut is highly textured, rhythmical, and rooted in a classic dub-techno sound.

Outside of their pairing, Ohm is most known for his acclaimed collaborations with Exos in the early ’00s; whilst Octal Industries is a much-respected artist within the IDM scene under his Ruxpin alias.

In support of the EP, the label has offered up B1 cut, “Athena,” as today’s XLR8R download, available via WeTransfer below.

You can pick up the rest of the EP here.

Athena

Novation’s Blocs Wave App is Now Free Download

Blocs Wave for iOS, Novation‘s app for making and recording music, is now free to download on the Apple app store.

With its simple and intuitive design, Blocs Wave offers unique ways to combine sounds to build up original musical ideas. For performers, Blocs Wave can also be used as a real-time loop recording tool that can record and capture ideas on the go.

The now free version of the app lets you tweak and edit your sounds, and change the tempo and key, in real time, as well as supporting Ableton Link and Ableton Export. Two extended features, ‘Slicer’ and ‘Audio Import’, are now available as In-App Purchases—these let you chop up and play with your sounds and bring in your own samples.

Alongside the announcement, Blocs has also shared a video where music creator Suren Seneviratne (a.k.a. My Panda Shall Fly) shares his creative process when approaching music creation on-the-go.

You can get the app now via the app store.

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Ben Lukas Boysen and Sebastian Plano Score ‘Everything’

Ben Lukas Boysen and Sebastian Plano are set to release the score for the “Everything” computer game.

Erased Tapes‘ Ben Lukas Boysen is no stranger to scoring and sound design. Under his HECQ alias, Boysen has scored films, commercials, museums, and video games for places like The Barbican, Audi, Lenovo, Alien Rage, Lexus, and many others.

Boysen’s latest project is a score for David O’Reilly’s “Everything” video game, made in collaboration with composer Sebastian Plano and narrated by Alan Watts. “Everything” brings the player into an all-encompassing world where they are in complete control of interaction, design, and construction. Whether you decide to take the role of a microbe inside a plant in the desert or a star in the furthermost galaxy, each layer of the game is coated with ambiance “which takes the simulation even further into the limitless boundaries of each world,” the label explains.

Though the score has an important part to play in heightening the atmosphere of the game, it has the capability of being a standalone album, which will be out physically July 28 via Erased Tapes.

Tracklisting

01. Opening
02. We’re Here
03. Winding And Unwinding
04. Eisenach
05. An Infinite Day
06. Opening Light
07. Aalystice
08. Inside Air
09. After Our Efforts
10. Reaching Light

In advance of the release, “Winding And Unwinding” is streamable in full below.

Podcast 487: DJ Masda

Introducing DJ Masda feels like a tedious task: most of you, especially those fans of minimal house, will almost certainly have been familiar with him for some time; after all, he’s been a key player in these circles for over two decades. For this reason, I’ll keep this introduction short and concise—limiting it to the few bits of information about Masda that are public knowledge (he doesn’t really do interviews). Number one: he’s a Japanese DJ based in Berlin. Number two: he has made his name for his smooth and classy selections; he has not been supported by any releases on big name labels. Number three: his reputation was founded on two parties—namely quop and, more recently, Cabaret. The former, in Osaka, was where he developed his skills, warming up as a resident alongside some of the scene’s key players; the latter was founded in Tokyo over 15 years ago and has since both morphed into a label of the same name and spread its wings in Berlin. And that’s pretty much all there is to say about him.

But the story behind this mix really says a lot about Masda. It goes something like this: XLR8R reached out to him in the summer of 2016, asking for a podcast. He kindly agreed, though was reluctant to tie himself to a date due to various other commitments, although a September/October slot was mutually earmarked. September came, followed by October, and so did an email: “I made eight mixes and this is the best I think but I do not really feel this is good enough to be published,” he said. “I have been too busy to concentrate on making a good mix. I will carry on making one but I do not know when I can finish.” Now, let’s be clear: this original delivery was extremely good—a smooth and sophisticated podcast that was perfectly publishable. But standards, Masda explains, must be kept high—and evidently so. A decision was then made to postpone the mix indefinitely—”When I finish, I will send. If the timing is good, you can put it up,” he said—before this mix dropped in the inbox in March, with no prior warning, though accompanied by a small note: “How are you? Here is the mix. Enjoy.” Nothing more was really added to the exchange, besides the answers below.

And enjoy we all will.

When and where was the mix recorded?

I finished recording the mix February 2017. I recorded at home in Berlin.

Could you tell us about the idea behind it—was there a clear concept in mind?

I got the offer from you in January 2016. It was right after I finished the podcast for Nightclubber.ro.I did not want to repeat the same thing again so I asked you to give me a bit of time. But to be honest I had no idea what kind of trip I wanted to make until the last minutes. Closer to the deadline, I was touring two cities in Ukraine and Moscow. I missed a flight back to Berlin in Moscow. While I was waiting for the next flight, I had a message from a friend in Kiev, the friend who seemed to be enjoying my set the most on the dance floor there. Then the warm feeling filled in me and I decided to make a mix imagining that this friend is there instead of just looking at the wall of my room…but my record bag was lost during this flight so I needed some more months to complete the mix. I am very sorry 🙂

Where is the mix supposed to be listened to?

Maybe at Lesnoy Prichal at Closer in Kiev? I don’t know…but I hope it finds a right place to be listened for who find this mix.

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

All the tracks I played here I think I have played in the club except the last track. Like every DJ, I change the approach depending on many aspects, like where I am playing, how the crowd is, what the theme of the party is, what hour I play, who I am playing after or before and so on. Normally I play longer hours compared to this mix but I don’t want to repeat the same thing and I always try to make my story for the given moment so for this all the mix I make I make is the same. I hope I make sense here.

CABARET recently release a Spacetravel EP. What can we expect this year in terms of releases?

We are preparing the first compilation album now. All our friends who released from the label and some new friends. I hope it will be released in June this year.

How do you do the A&R for the label?

For now, I am focusing on releasing music from my friends, friends who I actually met and hang out with. I meet people, have fun together, make friends with them. If he or she shows me his or her music then I start to think if it fits with the label. For me, this brings me the joy of running a label.

Tresor to Release Porter Ricks LP

Tresor Records will release the new LP of Porter Ricks, titled Anguilla Electrica.

Ever since their initial singles were released in the mid-1990s and became international calling cards for the Chain Reaction label, the Porter Ricks duo of Thomas Köner and Andy Mellwig have represented that crucible point in which techno music leaked into new social environments. Their submerged “scuba” sound is now instantly identifiable as one of the “soundmarks” of Berlin club culture. Just as importantly, it is still a palpable aftershock of a pre-millennial genre explosion that saw deep dub, shimmering post-rock, abstract hip-hop, and art-damaged noise all drinking from the same well of inspiration. Together with restless international collaborators such as Kevin Martin, and theoretical think tanks such as the Mille Plateaux label, Mellwig and Köner were key players in a larger decentralized rebellion against musical monoculture.

For proof of Porter Ricks’ enduring legacy, look no further than the fact that “dub techno” is now a stylistic movement that has expanded far beyond the confines of Berlin and the Basic Channel / Chain Reaction label alliance (where Mellwig’s mastering skills also played a starring role).

Anguilla Electrica is the duo’s first full-length release in seventeen full years, but it “radiates with confidence and with a clarity and intensity rarely seen in a world so oversaturated with communications noise,” explains the label.

Tracklisting

A / 1. Anguilla Electrica
B1 / 2. Shoal Beat
B2 / 3. Prismatic Error
C / 4. Scuba Rondo
D1 / 5. Port Of Tangency
D2 / 6. Sandy Ground

Anguilla Electrica LP is scheduled for June 9 release, with “Shoal Beat” streamable in full below.

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