The curator of this week’s podcast, Matthias (real name Matthias Prennushi) is known for deep and spacey grooves—the sort of stuff you’ll hear in his 2020 XLR8R podcast. Besides the fact that he heads up Superluminal, a small Berlin label where he’s put out almost all of his productions, he’s revealed scant personal details, but we do know he originates from Italy and found music through the guitar. Around the age of 16, after attending some local electronic music events, he became intrigued by “all the knobs and instruments behind the booth, all controlled by a single figure responsible for people’s dreams.” After moving to Berlin through London, fascinated by the German capital’s past and how that was affecting the people musically, he launched his label and its accompanying party series. He’s been making his own records since 2010 and DJing since 2007, but the two are inextricably linked: he only plays his own edits and original productions in his sets.
Matthias recorded his last mix in the darkest depths of the pandemic and he delivers this one towards the end of it—we hope. He emerges from this period with a new alias that stems from the frustration and deep sadness of not being able to share the music he’s been making with others. Autoerosynth (a play on “musical autoeroticism”), a project dedicated to the realm of synth, is an “extension of himself,” he says, and he’ll launch it soon with a debut EP on Superluminal. But before that, he’s compiled an XLR8R podcast to exhibit the sounds we can expect, including the first taste of this new release. Instead of slick, minimal groove, expect brooding synth lines, warped vocals, and dramatic soundscapes that become increasingly fraught as the mix progresses. All in all, it’s two hours of compelling electronic madness from a multi-faceted artist we’ve long admired.
01. What have you been up to recently?
I must say my life before and after the pandemic hasn’t changed much. I’ve always spent an incredible amount of time finding new music to play. In general, I am a person who spends a lot of time thinking of music and where I can work harder in terms of offering something fresh in order not to get stuck in a boring loop of already given materials. Consistency is very important for me in developing one’s music and archive.
02. Which labels and artists have you been listening to recently?
I personally do not like following criteria; instead, I listen to whatever the day brings me, even if I do have preferences. I cannot really answer this question.
03. You’re setting up a new project called Autoerosynth. What can you tell us about it?
Well, this is interesting, at least I hope so. I have been suffering a lot recently because the pandemic has caged me into a state of isolation. I feel like everything I make in the studio or find on a shelf is always meant to be shared with someone else. It does not matter when or where but there is going to be a time. But the odds have been pretty murky this time. So I confined myself into a musical autoeroticism, and the impossibility of playing music with others and for others gave birth to this name. We have been dancing since ancient times, since the very beginning, so when you take it away from us it’s always going to hurt our inner instinct.
04. What are your plans for Autoerosynth?
Autoerosynth is going to be a new alter-ego that will explore dramatic worlds in the realm of synthesizers. It is a journey for synth lovers. The alias will first appear on my record label, Superluminal, with a four-track EP.
05. Where and when did you record this mix?
I recorded the mix approximately one month ago in my studio, where I’ve recorded all my previous mixes. I wanted to be sure of the integrity of the recording rather than the single tracks; it has taken me a long time to find the music and understand which path I wanted to take for this project.
06. What can the listener expect?
As I said last year to a similar question, I do not want you to expect anything. We always tend to build our emotions based on our expectations rather than offering a pure sense of listening to whoever performs for us. It’s as if we are waiting for something.
07. You haven’t provided a tracklisting. Can you explain why?
Yes, I think I already gave a part of the answer to this in the previous question. I wanted to focus on the full recording and the integrity of the full spectrum. I personally do not feel good being involved in these ID games; everyone is so hungry to know titles behind a single track, which minimizes everything into a single tune. For me, there is no special record, just the whole thing.
08. What’s next on your horizon?
I am looking forward to the next challenge. We just came through one of the biggest tragedies in our history and yet we managed to take something out of it. I wonder what’s next, and how much we can learn from it. Think about the music we can make after this!
XLR8R has now joined Mixcloud Select, meaning that to hear the podcast offline you will need to subscribe to our Select channel to listen offline, or subscribe to XLR8R+ to download the file. The move to Mixcloud Select will ensure that all the producers with music featured in our mixes get paid. You can read more about it here.
Full XLR8R+ Members can download the podcast below.If you’re not an XLR8R+ member, you can read more about it and subscribe here.
Editor’s note: Autoerosynth has opted not to deliver a tracklisting for this mix.
Since he began spinning minimal and house records at friends’ parties in 2014, Pressure Point, the Italian DJ-producer also known as D:fferent Place, has never really looked back. Shirking away from the limelight that many of his compatriots have pursued, he’s instead released a stream of quality EPs that stylishly blend the two genres that kick-started his journey in music nearly two decades ago. Next up is Ghost on Tape, a four-track outing on Pluie/Noir—a label in Berlin, one of Pressure Point’s former homes. It follows a collaborative track with Christopher Ledger on DeWalta‘s Meander.
Little is known about Pressure Point’s origins as a producer but what we do know is that he began with three slick micro-house tracks on Italian label Castanea Records, and his music instantly gained traction. From there, he signed to Sol Asylum and launched Telharmonic Texture, a little-known label with a big roster: Akufen, Paradroid, and Jeff Samuel have all put out music there. More than anything else, it’s a space for Pressure Point to share music from the artists that have influenced him, and it’s one of those few play-on-sight platforms in minimal electronic music.
Recorded last last month in celebration of the upcoming EP, Pressure Point’s XLR8R podcast is full of the complex compositions and deep melodies he’s known for. Much like Telharmonic Texture, it shines on a light on Pressure Point’s favorite artists: you’ll hear music from Edward, Youandewan, and Thomas Melchior, any many more. Fortunately, these are also some of XLR8R‘s favorite voices, so we’re also a big fan. Press play for just over an hour of wonky, effortless minimal groove.
01. What have you been up to recently? Finally, I am starting to live some normalcy once again. Until recently everything seemed so surreal, with the pandemic, and this influenced everything that was a source of inspiration for me. I never stopped listening to and buying new music, just as I never stopped experimenting with new sounds, but everything felt much slower. And now slowly everything seems to be taking its normal shape once again.
02. How has the lockdown period been for you? Boring! And also worrying because the music and art scene has suffered a lot. In fact, it’s the one thing that hasn’t fully restarted yet. When there was no light at the end of the tunnel, there were some pretty dark moments, but I hope this will be nothing but a bad memory and we can recover better than before.
03. Which artists and labels have been impressing you recently? For some time I have been focusing on the past in terms of influences—exploring and trying to understand the artistic evolution of electronic music throughout the years. At the moment I feel particularly influenced by artists like Herbie Hancock, Larry Heard, and Jovonn, but also more recent names like Patrice Scott plus his label Sistrum. As for the minimal scene: I really like Edward.
04. What is it that draws you to make electronic music? Music is a state of mind, and this has always been my thinking. We’re all free to do whatever makes us happy in life. Making electronic music has always been a source of life for me. With a growing career in music everything becomes more serious, but it’s important to always keep in mind the real reasons for one’s passion while working hard. Seeing some good results after many sacrifices brings more positive energy to continue ahead on the path.
05. You’ve got a new EP incoming on Pluie/Noir. What can you tell us about it? I’ve always tried to establish a relationship of trust with the labels that I intend to release music with and fortunately I’ve found this with Bruno Cleymoore who has been shaping Pluie/Noir for years. So together we decided to publish this EP, Ghost on Tape, which, as of now, is one of my favourites releases ever. It’s experimental with a touch of deviation from the standard minimal sound; it presents the sort of “distorted” vision I have of the genre.
06. Where and when did you record this mix? I recorded this mix two weeks ago at my place, with a good glass of wine.
07. What can the listener expect? I hope that listeners can dive deep into the flow that I’ve tried to create here: every record is placed in a specific position and has its unique purpose. I want the listener to wonder: What’s coming next?
08. How does it compare to what we might hear you play in a club? In a club everything is different because you have the energy coming directly from the people. It’s very different to a podcast. In both cases the end is the same—to provide the listeners with a good final product—but the contexts are different: during a set in a club, the variations between genres which I love very much (shifting from micro-house to old school Chicago old, for example) can be more common. It’s me selecting the next track but it’s the dancefloor dictating what I should play. I’d say 90% of the time the flow is decided this way. In a club setting, you will most certainly hear my set dictated by the heart rather than the mind.
09. How did you go about choosing the tracks that you included? I simply chose records that represent me as an artist at this time. Some are older, some are newer—no different than what I do when I prepare for a set in a club. I always choose what I like the most at the moment.
10. What’s next on your horizon? There are various projects on the horizon, some of which have been stuck since lockdown. I am in the mix phase for D:fferent Place 005 which will be released next year. I’m enthusiastic about this and can’t wait to share more information. As Pressure Point, other than the Pluie/Noir release next month, there will be another EP coming out on Residual Recordings soon. For now, this is all I want to share because the rest is still in the production phase. Ah, and next year, I might reintroduce a more complex live set for tours.
XLR8R has now joined Mixcloud Select, meaning that to hear the podcast offline you will need to subscribe to our Select channel to listen offline, or subscribe to XLR8R+ to download the file. The move to Mixcloud Select will ensure that all the producers with music featured in our mixes get paid. You can read more about it here.
Full XLR8R+ Members can download the podcast below.If you’re not an XLR8R+ member, you can read more about it and subscribe here.
Tracklisting
01. Norm Talley “Ataxia” (Leftroom) 02. Tom Ellis “Wrong Time” (Trimsound) 03. Matthias Reiling “Outpace” (Giegling) 04. Edward “Walk Free” (Giegling) 05. Omni A.M. “Space Horse” (Euphoria Records) 06. Fumiya Tanaka “Iikanji” (Sundance) 07. Zepp001 “Don’t Sleep” (Delusions Of Grandeur) 08. Thomas Melchior “Everyone’s A Winner” (Playhouse) 09. XDB “Frocks” (P.Scott mix) (Sistrum Recordings) 10. Youandewan “Loophole” (Small Hours) 11. J.Brent “In The Bedroom Department” (Vinyl Underground) 12. Cignol “Memory Minor” (Nocta Numerica Records) 13. Bobby Konders “Version” (Nu Groove Records) 14. Leaves “Alley 4″ (Iron Curtis Edit)” (Sounds Benefit) 15. Patrice Scott “Analog Dreams” (Sistrum Recordings) 16. Jovonn “Welcome Dance” (Dogmatik 1204) 17. D’marc Cantu “How Are You Doing” (M>O>S Recordings)
BLK ODYSSY, a previously unknown soul singer named Sam Houston, based in Austin, Texas, has launched his debut album on After School, a new sub-label of Alpha Pup.
BLK VINTAGE is a sonic amalgamation of Houston’s influences, beginning with the work of funk legends Parliament and moving through modern music pioneers like D’Angelo, Kendrick Lamar, Sault, and Anderson .Paak.
Thematically, the music is inspired by a multitude of racially driven experiences Houston took in while growing up. Most notable was the death of Houston’s brother, killed at the hands of police while residing in their home state of New Jersey.
BLK ODYSSY is “politically charged music with a penchant for lush instrumental layering,” we’re told, and it has “a mission of impact and triumph.”
“I want to create something that will be culturally impactful for my people. I want to do something that is impactful on a larger scale, something that is for groups of Black people across the country,” Houston says. “The Black youth has been poisoned numb because of the shit we have to deal with. I want to speak to our experiences and let people know it’s okay to shed that layer and really, truly feel. My goal is to connect with the Black youth, and my goal is to connect with my people and speak to them on a level where we can stop suffering from happening. There’s only so much we can do for the dead. This record asks: ‘How can we stop this from happening again?’”
01. BLK VINTAGE 02. FUNKENTOLOGY 03. NINETEEN EIGHTY 04. HANG LOW (Feat. James Robinson) 05. BIG BAD WOLF/SOBER 06. YA NO PODIA SALIR 07. MURDA 08. GHOST RIDE 09. BLK REVOLUTION 10. DRINKING GOOD
BLK VINTAGE LP is out today. You can order it here and stream it in full below.
This week’s Web3 Wrap includes Snoop Dogg outing himself as a huge NFT whale, Seed Club’s latest accelerator cohort of 15 inspired projects, Gary Vee and art curator Vito Schnabel’s new ArtOfficial platform, Time Magazine, and more.
Dive into the wrap below.
Seed Club Announces its Third Accelerator Cohort
Seed Club has announced the list of approved applicants for its latest incubator program.
Over 80 applicants submitted to be a part of the latest accelerator program, which provides a space and resources for communities to “build and learn faster, together about community tokens, DAO’s and web3.” 15 applicants were accepted into the program, including ALLSHIPS, Creator Cabins, Crypto-Z, Eve Wealth, Heat DAO, Krause House, Only.One, Phlote DAO, Pussy Riot, Refraction Festival, Tinsel DAO, Tiny Mix Tapes, Trippy, Water and Music, and Zouzoukwa.
You can read more about Seed Club and this latest round here.
GWAR Announces Fan NFT Collection
Grotesque metal band GWAR is entering the metaverse by minting their first NFT collection on the Ethereum blockchain via Fanaply, one of the big names in the NFT sports collectibles sector. The collection includes three separate NFTs, featuring art from frontman, Matt Maguire, as well as previously unreleased music. The prices for the various collectibles range from $20 to-250. The most expensive piece in the set, Scumdog Legionnaire, will have a total of 10 copies minted; the least expensive, Bohab 4 Lyfe, will sell for $20 and have a total supply of 250. The limited-edition collectibles are available for purchase now on both the Fanaply marketplace and the official GWAR webstore.
Gary Vaynerchuk and Vito Schnabel Launch NFT Art Platform ArtOfficial
Serial entrepreneur Gary Vaynerchuk and art curator Vito Schnabel have teamed up to launch the world’s first independent NFT art-auction platform from a commercial gallery. ArtOfficial, which opened today, is starting things off by auctioning contemporary art from Italian artist Francesco Clemente, which has accompanying music provided by Philip Glass. The winner of the debut auction will also be receiving a live watercolor portrait session at the artist’s New York studio. ArtOfficial will focus on curating the best works from renowned international artists, with the intention of building a space that is an extension of the gallery’s voice. The project, which has been in the works for almost 10 months, will see the duo utilizing their strengths to build the platform; Schnabel will be primarily curating content while Vaynerchuk will be the one devising the innovative strategy and long term vision of the company.
While ArtOfficial (a play on the word artificial) will not be restricted to any one type of artistic media, the artists that are likely to appear on the platform are involved with moving images and digital art. Two forthcoming artists to the platform are filmmaker/painter Gus Van Sant and musical icon Laurie Anderson.
Snoop Dogg Reveals Himself as NFT Whale
Snoop Dogg is no stranger to the NFT space; just last week the producer for his Snoop Dogg presents tha Eastsidaz album auctioned off the platinum plaque the album received as an NFT to raise money for charity, and the rapper has also planned to launch a collection of branded digital assets as NFTs, and even a collaborated with cartoon meme icon Nyan Cat.
Now it’s been revealed that Snoop Dogg is none other than NFT whale Cozomo Medici, a pseudonymous art collector that appeared on the scene in August of this year. It’s worth noting that the value in the wallet of the pseudonymous collector is upwards of $17 million, according to dAppRadar. The collection features a selection of bluechip Ethereum NFTs: nine Cryptopunks, 10 Meebits, and a whole slew of the algorithmically generated ArtBlocks. Snoop plans to keep the profile active but does not plan to further divulge his personal identity, stating simply that “those who do not care, or simply prefer to not know the source of my vast fame and fortune, may simply not research. I will keep this account focused on NFTs, and not mention this again here.”
Yesterday, TIME magazine launched TIMEpieces, a community-driven NFT project featuring the works of over 40 artists, which sold out in minutes. 4,676 were minted in total and sold randomly for 0.1 ETH on OpenSea, with the full collection revealed after the last piece was sold. According to TIME, the idea behind the lower costs was to lower the barrier to entry and allow for a more diverse group of collectors. Holders of the NFT get unlimited access to the TIME website, invites to physical events, and access to exclusive digital experiences. The group of artists featured in the first collection of pieces was chosen by TIME’s creative director, D.W. Pine. The artists come from all over the world with a variety of backgrounds, offering both still and animated pieces of all sorts that fit the theme of “building a better future.” In addition to all of this, the collection will be turned into the cover of a hardback book which will be on display at Dreamverse, the first NFT music and art festival that will take place on November 4 in NYC.
Have you ever felt like you’ve woken up inside a dream, or that you regained consciousness while still actually dreaming? For California-born techno artist Jamaica Suk, these metacognitive states of awareness, known as lucid dreams, are not only a regular occurrence but a source of musical inspiration.
From her early days as a Bay Area jazz-musician turned DJ, producer, and event organizer, Jamaica has gone on to establish herself as a familiar face within the global techno community. She’s dedicated much of her time to crafting and developing her studio productions and has become widely known for a steady output of contemporary music, interlaced with distorted avant-garde melodies and pulsating industrial grooves.
As part of this month’s XLR8R+ edition, Jamaica Suk is releasing her new track, “Dream Delusions,” We met up with her for a talk about the inspiration, techniques, and creative strategies used to produce the track – and she has shared a download of her Live Set for a direct look into her process.
*Requires a Live 11 Suite license or the free trial.
Please note: this Live Set and included samples are for educational use only and cannot be used for commercial purposes.
You can download Jamaica Suk’s “Dream Delusions” via XLR8R+ once you subscribe here. XLR8R+ is a curated subscription service and music community delivering exclusive music and content every month, plus access to the XLR8R+ member’s area, where you can submit your music to be showcased across XLR8R’s channels and to the XLR8R+ community. The XLR8R+ subscription is also available as an NFT, minted on the Polygon (Matic) chain.
Jamaica, thanks for meeting up with us today. You’ve said in the past that you draw inspiration from a wide range of music, from shoegaze, psychedelic rock, and metal to various dance genres like happy hardcore, jungle, and trance. Would you say all of these influences contribute to the music you make today?
All of these influences have inspired me and perhaps you can hear some of this in my music. It depends though: my production is minimalistic and involves contrast; there’s often darkness and light. There’s probably more influence from bands in my production rather than other varieties of music that I’ve drawn inspiration from. Drums in techno are similar to metal music and heavier rock because of the high intensity in the kick and the bass and melodies evolving over time. I want to fuse more of my influences into my music and I know this will be a life-long process. One of my live sets incorporates my bass guitar which is played through a modular synth. This set is more experimental/ambient and reflects some of my band influences. It is challenging for me to reflect those influences into my techno productions and DJ sets; I feel that it’s easier to show them in an ambient/experimental setting rather than a full-on driving techno set.
4th Dimension, by Jamaica Suk
With such a broad and diverse musical background, what was it about techno that got you so hooked?
I heard it and I fell in love with it. The whole idea of repetition is fascinating to me. Once you get pulled in, you may think you’re just hearing a loop, but then you realize all of these patterns are changing and evolving over time and it makes your head spin. It’s really helpful for disconnecting. Dancing and listening to techno is like transcendental meditation.
Escape, by Jamaica Suk, released on her record label Gradient
Before you started making electronic music, did you have any prior formal training as a musician?
I trained and spent most years studying jazz. I played bass guitar in jazz bands for my college, my high school, and small jazz groups. I also played upright bass in a symphony for two years.
Do you think there is a place for classical/jazz music within your techno productions and do you still find yourself still drawing on that early training?
For melodies, yes. I love melodies and I add them to my productions and DJ sets. Sometimes I try to skip that and just focus on drums, but it’s difficult. I especially love avant-garde sounding melodies. Some melodies I write are dissonant at times and that reminds me of jazz. I love jazz scales that include dissonant notes, the ones that make your hairs stand up on your arms, you know?
When writing a track, do you have a feeling or emotion that you hope to convey in the hope that other people may feel that too?
I know that not everyone connects to every track and I like the idea of there being something out there for different listeners. I also know the music I make is not for everybody. For the people it does reach, I hope they can connect to my feelings. I don’t write soft music, it’s often moody and includes a lot of emotion.
In a typical week, how much time do you spend making music, and what motivates you to keep going?
Music is my therapy. I have to write music, it’s a part of my lifestyle. I write music at least five days per week for at least five hours per day. I try to write something new for twenty minutes a day.
It’s an interesting concept that you try to work on a new idea for twenty minutes a day. So much of jazz music is about jamming and improvisation. Do you think this daily ritual has any connection to your roots as a jazz musician?
Perhaps, yes. Before, when I played jazz every day, I invested hours into studying scales, playing improv’ bass, and jamming, so that is pretty similar to the idea of allowing time to jam daily and see if some magic happens.
Jamaica Suk mixes a live-streamed techno vinyl set at Hör Berlin
Let’s take a look at your Live Set. Can you tell us where the inspiration for the track came from and how you came about naming it “Dream Delusions”
This track reflects that lucid state of consciousness when you wake up in a dream and find it difficult to realize if it’s real or not. If you do realize it is a dream, you can try to control aspects of it. This is lucid dreaming. I have a strong level of lucid dreaming. My dreams can feel like reality for a while until one or two things happen that could not happen in real life. Hopefully, by this point, I realize it’s a dream or I wake up. This track reflects the battle of reaching a lucid dream state or waking up from an intensely vivid one.
Was the track made with any specific space or audience in mind?
I did have the club in mind. I wanted to create a track that could be played in a DJ set that was still dreamy with an avant-garde melody and a bit dissonant. Often when I’m creating tracks they come from a really good jam or a cool sketch that I expand on. I don’t think about where the track’s going or what label it’ll maybe get released on; I finish the track for me!
When describing “Dream Delusions” to us previously, you labeled it as deep and groovy. How important is a groove to you in your productions? And how do you go about creating this?
Groove is very important to me. Some techno can feel mechanical and soulless. Groove is something personal that you feel deep inside your body and soul. Connecting to the rhythm of a track is important in machine music, although it’s easy to write something that lacks groove, especially if you don’t add shuffle to percussive elements.
One noticeable thing about the track is the warmth and timbre of your kick and sub-bass section. Can you walk us through your process?
The kick drums are layered. I recorded one of the kick sounds from a module called the Basimilus Iteritas Alter and another from my Elektron Analog Rytm. I can’t remember where the last drum sample is from. It’s probably a combination of my Roland TR8S and TR9 running through a Rat distortion pedal and a small bit of internal reverb from my Allen & Heath Zed 22 FX console. The Stutter Kick is from my Erica Synths Techno System running through a Vermona distortion and WASP filter module. It reminds me of metal actually because it sounds like a double kick.
Your hi-hats appear to be a combination of layers and patterns. What did you use to create those?
I used a VST called Drumazon for 909 hi-hats. I like this VST from D16, it has an authentic sound. For the ride cymbals, I recorded my Roland TR-9.
Jamaica Suk used Drumazon, by D16 to create 909 style hi-hat patterns
When it comes to creating the melodic elements in your tracks, what are your go-to techniques and workflows, and are there any favorite synths you like to use?
For this track, I used Hive, a VST by U-HE, and I’m sequencing it with the Mono Sequencer Max For Live device. I like using the Mono Sequencer and I’ve found it great for sketching ideas quite quickly. When I’m traveling and producing on headphones, I’ll often start with the Mono Sequencer for melodies. In the studio, I record analog gear through my console and sequence it with a Dark Time sequencer by Doepfer. The Mono Sequencer in Ableton reminds me of the Dark Time sequencer because it’s almost like rolling the dice and you can randomly select musical notes. This reminds me of my approach using the Mono Sequencer which is why I love these two sequencers. It’s all about using your ears. I know this might be a scary approach for some producers but for me, it’s cool because I can just listen, roll the dice a bit, and then go in and tune everything according to what I hear and envision in my mind.
Jamaica Suk uses the Mono Sequencer Max for Live device to create melodies with software synths like Hive, by U-HE
When you talk about rolling the dice, do you mean working with concepts like probability or randomization?
Yes, and also musical notes but it’s not something I’ll do all the time. I’ll often use this approach as a starting point and if there’s something I hear and like I’ll expand on it. When I regain control, I’ll tune the musical notes and adjust velocities and other parameters to what I envision and hear in my mind.
There’s a distinctive lead track called Keys Hook in the Live Set, which sounds almost as if it was recorded in a cavernous space with water dripping from the ceilings. Can we open this up and see how you made it?
So as I mentioned I used the Hive synth by U-HE and there are some pretty effective filters inside this VST. I recorded this hook live with automation in real-time. Those watery sounds are from a layer inside the patch. When I picked the patch that I liked for this hook, I adjusted the parameters so it’s not sounding like a stock preset. This is pretty important to me as a producer. If I use a preset on a synth or VST, I’ll alter them before using them in a track.
You’ve also recorded some fx sounds with your Dave Smith Mono Evolver. One of them sounds almost like ghostly voices shrouded in radio interference. How did you create this?
That was recorded live from my Dave Smith Mono Evolver processed through a Line Six DL4 pedal, Rat Distortion Pedal, and my Eventide H9.
There are some interesting swelling pads, made with Absynth and Live 11’s Echo device. Is there anything you can tell us about them?
Absynth is a classic synth that sounds amazing; it’s pretty timeless. I wanted to emphasize the drop with something not too crazy sounding. With the Dave Smith Mono Evolver, it’s easy to achieve weird sounds, but if I want something more pad-like I’ll use Absynth or my Prophet 12.
You have some stabs which when soloed sound almost as if they are from a different piece of music, in a different key. When played together with everything else it completely works. Can you tell us anything about them?
That sound comes from my SYNC 0.5 module by Michigan Synthworks. It’s a percussive module that can also sound a little bit like a synthesizer. The sound then goes through my Veromona distortion module. The stabs really cut through the mix, they have a very distinct sound, it doesn’t sound like something I could have created with any of my VST instruments. I quite like the combination between analog recordings and VST instruments.
How long have you been working with modular synths and what inspired you to move over to a live performance mostly devoted to them?
I’ve worked with modular synths for about three to four years. Before that, I used live looping pedals, drum machines, and synthesizers with Ableton Live. When I started performing live sets I used Ableton Live. It’s less stressful for me to perform with Ableton because I can see everything in an organized fashion and this is helpful. Lately, I have been focused on performing analog live sets, but I do see the advantages of integrating Max For Live, and the CV Tools devices with modular synths. This is how a few other producers I know perform live sets and I’m considering if I should change my live performance to this.
Jamaica Suk’s Eurorack modular instrument setup, used in her studio and live performances
When it comes to mixing down your music, is your process very clinical and precise or do you prefer to do things by ear?
I do half of my mixing using my intuition and half hopefully following rules and techniques I’ve learned in audio school and have developed over time.
A lot depends on my setup and if I’m used to my studio and room. “Dream Delusions” was mixed in my old studio, where I was pretty aware of the translatability of my room. Since I’ve had a new studio, it’s taken me some time to get used to mixing in a different room. I find it interesting that it doesn’t matter how nice your setup is, what gear you do have or lack – it’s all about being comfortable in your environment, understanding the translatability to different speakers, your home system, or headphones. You can check a mix on laptop speakers for instance, and then it’s a case of knowing how to get back into your studio and make adjustments while doing these A, B, and C tests. This way, you can achieve a proper mixdown.
Does mixing go hand in hand with the creative process for you, or do you prefer to do the creative work first and mix everything down at the end?
It goes hand in hand, but I’ll do both. I’ll sculpt the sounds initially and develop the sound design during the creative process. After that, I go into arrangement mode and finally spend time mixing down in the final stage.
You’ve said in the past that as an artist you’re always finding different sides of yourself, different personalities, and developing your sound. Where do you see yourself taking things next?
I’m still very much in love with techno and I’d like to continue releasing more of it.
Since the pandemic, I’ve had more time to focus on other types of music like ambient and experimental. I’m pretty excited about how this has evolved and I’ll continue to pursue this. I’m not sure if everything will be released under my producer name or an alias. I’m excited to see what happens.
‘XLR8R+033’ features tracks from Jamaica Suk, BNJMN, and Kyoka, and artwork by Jamie Gorman, and is out now. Find more about the edition here.
Uffe Christensen has been on XLR8R‘s radar ever since he released his debut album on Tartelet Records back in 2015. And now the quirky Danish producer has returned with his third album, Words and Endings, comprising 12 jazzy house cuts for late night listening. Landing on London label On the Corner, the record stems from an emotionally charged two-year period during which Christensen found himself struggling with his artistic direction. One day he prepared some material that he anticipated would mark the end of the Uffe project and shared the album on Bandcamp, calling it Slut, which in Danish means the end. Words and Endings originates from these tracks, after label boss Pete Buckenham convinced Christensen to reapproach some of the off-kilter leftovers and half-finished sketches with an open mind. Pushing beyond his internal sonic boundaries, Christensen wandered through the sonic worlds of post-punk, dub, and UK bass to deliver an entirely new album, and his most “conceptually complete” effort to date.
A product of Odense, the third largest city in Denmark, Christensen began making music when he was 10 years old. He resisted going to his piano lessons because he preferred experimenting with samples and music-making apps on his father’s computer. By the time he was in his late teens, he’d progressed to programs like Reason and Logic and was making tracks as often as his graphic design studies would allow him. When he moved to Copenhagen at the age of 18, he became a part of the city’s IDM scene and released an album of hip-hop-inspired tracks as Nabo.
But Christensen felt this project didn’t really represent his artistic vision: instead of conforming to the dominant modes in dance music, he wanted to follow his intuition into unexpected rhythmic and tonal combinations. After a short break from making music, he began recording as Uffe (pronounced oofa) in 2011 while living in Berlin, Germany. Inspired by Four Tet’s interpretation of house music, Christensen hoped to create club-ready music with an organic feel. His debut EP, Colors Outside, arrived in 2012, shortly before he signed to Tartelet. He’s since released two albums on the mighty Copenhagen label.
Recorded earlier this month, Christensen’s XLR8R podcast is a freaky collage of tones and tempos that encapsulates his borderless approach to music-making. Its hazy first hour is centred upon post-punk and improvised jazz, but somewhere around the midway point it picks up a house beats and moves into club-ready productions. Besides his own music, there are cuts from Bauhaus, Mosca, and African Head Charge, but there’s also many we haven’t heard before. Expect a wild ride through one of contemporary electronic music’s more original minds.
01. What have you been up to recently?
I’ve just finished a pretty intense week in Aalborg, Denmark at a festival for visual art. They invited 20 applicants to spend a week to put up a festival. From writers to film makers. It was stressful but great.
02. What have you been listening to?
Unfortunately, myself. When I’m working mode I try not to listen to music because I have a tendency to copy when I get excited.
03. Where and when did you record this mix?
Just recently at home. I have my listening setup in my living room because somehow I listen better when music is a soundtrack for boring stuff like doing the dishes. I have a sampler plugged in at all times so if I hear something I want to sample I can just hop over and record it.
04. What can we expect?
Hopefully a well-curated collection of music. You tell me!
05. What setup did you use?
Two Technics 1210s, an old DMC mixer, and my bad mixing skills. There’s an mp3 here or there too. It’s a very puzzle-piece-ish process. I wanted to do a live recording but my friend Ruben (a.k.a RDG) said you have to do a two-hour mix for listening.
06. How did you go about choosing the tracks that you’ve included?
Using my ears.
06. What’s next on your horizon?
Too much. Going to work on Julie Pavon’s full length. Hopefully some gigs during autumn. I’ve got other things going that would be nice to focus on and potentially finish. The obligatory writing for funding. Washing all the windows. Learning how to make pasta.
XLR8R has now joined Mixcloud Select, meaning that to hear the podcast offline you will need to subscribe to our Select channel to listen offline, or subscribe to XLR8R+ to download the file. The move to Mixcloud Select will ensure that all the producers with music featured in our mixes get paid. You can read more about it here.
Full XLR8R+ Members can download the podcast below.If you’re not an XLR8R+ member, you can read more about it and subscribe here.
Tracklisting
01. Uffe “Intro” (Universal Music) 02. Shatter Hands “Zealot Session #15” (Unreleased) 03. Don Cherry “Bass Figure For Ballatune” (Sonet) 04. New Age Steppers “Crazy Dreams And High Ideals” (On-U Sound) 05. Denseland “Alchemy” (Arbitrary) 06. Llwybr Llaethog “Malu Cachu” (Ankstmusik) 07. Bauhaus “Departure” (Beggars Banquet) 08. Linton Kwesi Johnson “Shocking Dub” (Island Records) 09. The Heptones “Drifting Dub Plate” (Trench Town) 10. U-Roy “Resevoir” (Epic Records) 11. Jah Bobby “Marry Me” (Technique) 11. Jah Shaka “Judgement Dub” (Jah Shaka Music) 13. African Head Charge “Latin Temperament” (On-U Sound) 14. Osunlade “Nebula” (Yoruba Records) 15. Julie Pavon “Jealous” (Uffe Dub) (Unreleased) 16. Mosca “Peyote Stitch” (Livity Sound) 17. SW.SWN “Side A” (SUED) 18. Mental Overdrive “Diskodans(Dr. Sennep’s Hevn)” (Smalltown Supersound) 19. No Knox “Danserne” (Bondeskiver) 20. Perry Henry “Rock Electronique” (Limelight) 21. Karin Krog & Friends “Maiden Voyage—Lazy Afternoon” (Sonet) 22. Charlie Haden & Alice Coltrane “For Turiya” (Horizon)
As October approaches, we’re ready to present some more of your submissions, and this collection is another really strong one. As we’ve explained numerous times, we opened up our submissions portal to give original artists the opportunity to reach us, knowing that not only their music will be heard but that if it resonates with the XLR8R team it’ll be showcased to our valued XLR8R readers. Overflowing with interesting sounds and names, few of which we’ve heard of before, this edition encapsulates precisely why the portal has been such a success.
The submissions range from the time-suspending ambiance of Broken Chip all the way to the soulful house of Frank Lee. With its warm chords and dusty samples, Quimbie’s Sunday Fiction is an album we’ll be coming back to for years, as are the funky sounds of Indian duo Baalti and the haunting piano lines and warm chugging drums of Yasin Hazim’s latest podcast. If these sorts of cinematic sounds are your taste, then HAELIUM is possibly also for you—but scroll down a little further to “00#1” by Kobrik if you’re looking for something darker. Needless to say, dig some more and you’ll find the usual broken-beat, bass, and techno that so often frequents this monthly platter. Whatever your taste, there’s something you’ll enjoy, so go explore as you wish.
Editor’s note: we’ve made a point of linking each artist’s Bandcamp page, or a place where you can buy their music, and we encourage our readers to support these independent artists by buying their music. Let’s keep independent culture alive!
For those unfamiliar, XLR8R+ is a member-supported music community and curated music experience. Every month, you will get three exclusive tracks—sometimes more—by a wealth of amazing artists that XLR8R has supported over the years, as well as access to the member’s area where you can submit tracks and DJ mixesto be showcased in this feature series and to the XLR8R+ community. There’s also exclusive editorial content, mixes, FREE passes to music festivals and events, playlists, and more.You can find out more here.
Zig Wolf was introduced to house and techno while growing up in Budapest, Hungary, as a teenager. In June, he put out three intense techno tracks as part of the DShop EP, and next month he’ll put out Vamp on EINZ records. We’re told that the four tracks fuse minimal techno, evolving bleeps, and groove, and we’re streaming “Dion,” a slice of hypnotic techno inspired by countless nights out in the German capital. You can hear an EP preview here.
Sunday Fiction is the debut album of mysterious producer Quimbie. Drawing on a riot of warm chords, dusty samples, booming bass, and infectious rhythms, the album is imbued with a charisma that appeals as much to the mind as it does the body. We’re streaming the title-track here, but we also highly recommend the woozy Kaytranada-esque “I Made You A Tape” and “Same Time Same Place,” a taut slice of wonky deep house. The gorgeous “L,” which brings the album to a close with its bubbling tom toms and swirling chords, is also notable. Grab the album now from Germany’s JANX Records.
Asta Hiroki is an experimental hip-hop producer based in Brighton, on England’s south coast. Having honed his craft working as a composer in the world of contemporary dance, he defines his works with nuanced, textural beats with an ethereal quality. Earlier this year, he released Entropy, his sublime debut album, and now he’s back with “Half-Bloom” through his own new Folded Music label. Drawing on Hiroki’s love for jazz, electronica, and lo-fi, the track flutters between between downtempo hip-hop and ambient. All profits will be donated towards reforestation projects.
On their recent debut for Krunk Kulture, Baalti, an Indian duo based out of San Francisco, exhibited a funky sound with retro Asian samples that give each of the four loose-limbed cuts a crunchy, lo-fi feel. We’re streaming the opener “Aame” here but the full EP is a memorable club record that stays true to its cultural roots without taking itself too seriously.
Marco Baresi began his journey in music as a professional drummer for several bands. Nowadays, he’s making a crossover between funk, jazz, and deep house, and Endless Track, a four-track EP, is the latest demonstration of his work. With its deep melodies and old school electronics, the opener, “Warning” creates a unique atmosphere that’ll have you shuffling your feet on the dancefloor or nodding your head on the couch.
“Winter Rain” is a stunning new work from Broken Chip, a synth collector based in Australia’s Blue mountains. It’s taken from a new ambient improvisation EP on Australia’s lo fi spiritual imprint which captures the tender emotions involved in the human experience. For maximum time-suspending effect, consume the full EP as a whole.
Frank Lee is an Australian producer who studied jazz and toured as a professional trombone player before settling in Berlin, where he fell in love with the creative freedom of electronic music production. His music is inspired by the soulful grooves of Theo Parrish, Moodymann, and Madlib, and “Taken,” the title-track from an upcoming EP, captures these inspirations. An elegiac vocal cut is repeated to create an uplifting groove that is embodied by the groove and drums. More information on the full EP will come soon.
The mysterious 2ape Pax is the latest signee to British label Absolute Loss. With four dark tracks that span broken-beat, bass, and electronica, his Anxiety EP is a fitting soundtrack to the uncertain times we have been facing for the last 18 months, but it also hints at better times to come. The fusion of sampled live instrumentation and perfectly constructed electronic beats makes this record a real audible treat, and the title-track, which opens the release, is a stunner that we’ve been digging into from the day it was submitted.
HAELIUM’s dreamy electronica mixes cinematic textures, ethereal atmospheres, and punchy beats, and it’s influenced by the sounds of Warp, Brainfeeder, and Erased Tapes. Expanding, available on Future Archive Recordings, is the French artist’s latest effort, and it displays the same delicate approach to electronic music through blissful melodies and lush vocals. Although wide in their emotional content, the seven tracks are cohesive in their musical aesthetic. In June, HAELIUM released Freckles, a smooth downtempo track made in collaboration with Barcelona-based production duo PALLADIAN.
Through hard work and years of introspective studio time, Halbert has developed a mysterious and melodic sound. Growing up in Spain, he moved into electronic music after playing bass guitar in various bands, and since then he’s been exploring a range of different genres. “Itsyourdream,” a dark electro jam, is the highlight of his debut EP, Paradigm Shift, scheduled for September 30 release.
Sebastián Maria is a Colombian-American sound artist producing and spinning experimental Latinx music. He also helms New York-based Latinx collective Sazón Department. His work draws upon anything from música urbana, reggaeton, and cumbia to musique concrète, house, and even hardcore. In July, he released Through the Skin of the World, an album of intricate sound worlds filled with rapid-fire beats and chopped South American chants. We’re showing “Firefly Romance” here.
Hailing from China, Bella Cross has been a passionate house music fan since her younger years and in July she delivered Outer Space, her debut album of minimal techno and experimental electronica. We’ve chosen to present the title-track here because it sets the tone for a highly original and utterly captivating record.
Growing up in Paris, Yasin Hazim learned about music through an education in classical music and his family’s Moroccan and Algerian roots. From these influences, which also broadly encompass the likes of Leonard Cohen and Keith Jarrett, he draws his own style, ranging from blues and folk to psychedelic disco. His recent mix for Lughat alRouh‘s podcast series is inspired by a painting in his childhood home representing the soul—see the artwork. “It’s a whirlwind of words and colors, a vision of a soul’s many faces,” Hazim says. “I tried to approach something spiritual and heartfelt, an exploration of the language of the soul—an emotional journey through learning, obstacles, grief, and joy. Tune in for a personal journey awash with haunting piano lines and warm chugging drums. We couldn’t recommend it more highly.
Stefano Pea is a Sydney-based producer who originates from Italy and releases as Kobrik. He launched the alias in 2018 with the Chronic ElevationEP on Dublin label Variance, showcasing a dark and atmospheric production style. While he hasn’t shared any original music since then, he has shared two mixes, the first of which, “00#1,” we’ve been really digging. It treads the line between dusty, lo-fi house and darker, brooding techno, and we recommend “00#2,” which he shared more recently, too.
Freedom To Spend, an imprint of RVNG Intl. helmed by Pete Swanson and Jed Bindeman, will re-issue Chaleur Humaine, the debut album from French sibling duo UMAN
Chaleur Humaine is Danielle and Didier Jean’s debut album, and it was originally released in 1992 on Buda Musique. The pair recorded it after relocating to Orsay, a suburb south of Paris, where they built a humble studio in isolation as they sought to reject the conformity of the mainstream music industry.
Within their recording sanctuary, they embraced cutting edge consumer music technology that informs the album’s esoteric, textural characteristics. This is especially notable in the processing of Danielle’s voice, inventively sampled, shifted, and processed, and then woven through Didier’s dream worlds. Chaleur Humaine is in many ways a symbol of the pair’s new, liberated perspective, inspired by a space that gave them the freedom to experiment with ideas independently.
“We wanted to go beyond the oceans, the mountains, to explore humanity and to snuggle up to the heart of human beings,” UMAN said. “That’s why we’re thrilled for new ears and a new generation to hear the music of Chaleur Humaine.”
Chaleur Humaine follows RVNG’s release of Japanese artist Satomimagae’s Hanazono album.
On behalf of UMAN, a portion of the proceeds from this release will benefit Greenpeace France.
Tracklisting
01. Человечность (Chaleur Humaine—Russian) 02. UMAN Spirit 03. Aubade 04. Human Warmth 05. Entrelacs 06. Mémoire Vive 07. Chaleur Humaine 08. Cordes Sensibles 09. Maelström 10. البشري الحرارة (Chaleur Humaine—Arabic) 11. Atmosphère 12. Calor Humano 13. Human 14. Hơi ấm của nhân loại (Chaleur Humaine—Vietnamese) 15. Lalala 16. Menselijke Warmte 17. Ménestrel 18. אנושית אש (Chaleur Humaine—Hebrew) 19. Déambulation
Chaleur Humaine LP will land on September 17. Meanwhile, you can stream “UMAN Spirit” and “Mémoire Vive” in full below and pre-order here.
This week’s Web3 Wrap includes our own XLR8R+033, which is the second XLR8R+ to be minted as an NFT, Audius’ five-million-dollar strategic fundraise, Cardano’s long-awaited smart contract integration, Resident Advisor’s feature on DAOs, and much more.
Dive into the world of Web3 below.
XLR8R Releases the Latest Edition of XLR8R+ as an NFT
This week, XLR8R released the latest edition of XLR8R+ (XLR8R+033), the second XLR8R+ edition to be minted and available as an NFT.
The edition was minted with a jaw-dropping animated artwork by Jamie Gorman on the Polygon (Matic) chain and includes all the regular XLR8R+ assets in the downloadable locked content, including a collection of techno tracks from Jamaica Suk, BNJMN, and Kyoka, plus an Ableton Live project live from Jamaica Suk, and a zine with art, design, artist profiles, and an in-depth track breakdown. The NFT is available for one month only and is exclusive to XLR8R+ subscribers.
You can find more information on the edition and package here, or subscribe here to claim the NFT.
Audius Secures Five Million Dollars of Strategic Investment from Pusha T, Nas, Mike Shinoda, Disclosure, and Others
Blockchain-backed streaming service Audius, which currently boasts more than 6 million monthly users, announced a new five-million-dollar round of strategic funding today from several of the biggest names in the music industry. Artists Pusha T, Nas, Disclosure, Mike Shinoda, The Chainsmokers, Katy Perry, and Steve Aoki, plus music industry heavyweights such as Maverick Founder Guy Oseary’s Sound Ventures and former Sony Music CEO Martin Bandier were named as investors.
The platform notes that more than one hundred thousand artists have uploaded music to the site, which launched in late 2019. Audius is now the largest decentralized consumer product in the market and the fastest-growing streaming platform outright.
Andrew Ryce Explores DAO’s and the “Promise of Utopia” for Resident Advisor
Resident Advisor this week released an in-depth piece by Andrew Ryce in which he introduces readers to DAOs and they may have “potentially revolutionary implications for the music industry—if harnessed responsibly.”
The piece does a great job of explaining the ideas behind DAOs and how they may relate to and help the music industry. Most of the real-world examples in the feature focus on FWB (Friends With Benefits), a community DAO that is attempting to lay the groundwork for what’s possible with cultural membership structures. Although it currently costs around $8000 to join—which essentially sections off the non-wealthy and majority of the music industry—FWB has many promising features and, reportedly, is leading to community-led technological builds, IRL meetups, think tanks, and more.
Khalil Signs With New World Inc. to Release New Music as NFT
Singer-songwriter and R&B superstar Khalil will be creating and releasing new musical NFTs on the platform New World Inc.
His NFT collection will feature new and exclusive music packages as well as art that can be viewed and interacted with in augmented reality on the app New World. New World is an augmented reality, art-focused NFT company that allows artists, celebrities, and creators to distribute NFTs. New World has already signed notable artists such as Diogo Snow, who has created pieces for Drake and Fetty Wap. “I have been working on a few projects over the last year and decided I wanted to experiment by mixing my music with art, so creating an NFT was the perfect medium. Mixing audio and visuals together is a new outlet for me to express my creativity and share it with fans,” the artist has stated.
Metapurse to Create the First NFT and Art Music Festival
The world’s first music, art, and technology festival focusing on blockchain technology is on the horizon.
Metapurse, an NFT investment fund, is producing a festival project dubbed Dreamverse, which will have fully immersive galleries and musical performances. The in-person experience will feature art that is presented in a hybridized digital-physical format, with attendees able to opt into virtual reality art experiences. One of the biggest attractions to the event will be the public debut of Beeple’s high-profile work Everydays: The First 5,000 Days. The piece is one of the most well-known in the space, fetching a hefty $69 million during its initial sale.
The festival will be headlined by EDM artist Alesso, who is scheduled to appear with RAC and PLS&TY. Alesso will also be debuting his first NFT, which will later be sold through Tezos-based market OneOf. “This is a celebration of a vibrant, diverse, empathetic community. A merging of the physical and digital realms, Dreamverse is an expression of the renaissance we have been experiencing the last few years”, says founder of Metapurse, Metakovan.
Tickets are on sale now, and the festival will go live on November 4.
Cardano Successfully Applies Alonzo Hard Fork Adding Smart Contracts to the Platform
Cryptocurrency Cardano, one of the market leaders according to market cap, has finally brought smart contracts to the ecosystem with the latest Alonzo hard fork.
This gives Cardano the ability to launch DeFi applications, with several companies lined up and ready to start building. IO-HK, the development company behind Cardano, claims that there are already 150 projects currently being developed via Cardano’s Project Catalyst platform. IO-HK has also stated that Cardano’s smart contract implementation will be different from the way other smart contract platforms operate, and so they encourage developers to embrace the new features to better leverage the chain.
Solana Network to Issue ‘Post-Mortem’ Update After 18-Hour Outage
The Solana network is issuing a post mortem report after outages caused the network to go down for more than 18 hours.
The crash came following reports of “intermittent instability” on Tuesday, leading to a 17% nosedive going as low as $142. The cause of the problem seemed to stem from a denial of service attack executed on one of the decentralized exchanges Raydium, which had bots scrambling to buy a newly-listed token on the platform, causing upwards of 400,000 transactions per second. The developers were finally able to take the network offline to patch the exploit that the botters were using. Some dApps have still not gone back online following the outage. Despite this sudden network hiccup, the price of Solana has recovered from the dip and the core development team has promised to issue a detailed post-mortem report outlining the events that unfolded and how they plan to account for that in the future.
Producer Auctioning Snoop Dogg’s Platinum Plaque for a Good Cause
Tito “the Hood Santa” Rodriguez, known for producing internationally acclaimed artists like Snoop Dogg, is auctioning off one of his platinum plaques to help raise money for a local charity.
The charity that the proceeds will go to, the Local Hearts foundation, was also founded by Tito after he transitioned out of the music industry. The NFT that is being auctioned is a 1-of-1 digital representation of the platinum plaque he received for Snoop Dogg Presents Tha Eastsidaz. The winner of the auction will not only receive a digital copy of the plaque but also the physical award that was presented to Tito (they even agreed to cover the shipping costs). The owner of the NFT will also receive an exclusive ZUZ protocol NFT, which will airdrop Zeus tokens into the user’s wallet for the next eight months, as well as allow for gasless minting on the network. ZUZ also has some other projects underway: they’re currently launching a product that allows for accelerated NFT distribution with lower gas fees called “Multisend,” and another called the “NFT Forge Immolator,” a chain-agnostic app for creating dynamic NFTs that conduct certain actions over time.
What to Join and Who to Follow:
Mentxlist42O: NFT gallery curator and community leader.
Boiz Collection: a series of uniquely sculpted collectible avatars called boiz.xyz
Rhadiska: a digital artist and creator of AlieNation and Monday art club.
Taking place this Sunday, September 19, the morning-to-night indoor and outdoor event will feature a range of DJs and live acts across the house music continuum, including headline performances by Hallucienda label head DJ Three and live act Dubtribe Sound System, a duo made up of Sunshine Jones and Moonbeam. Support will be provided by a range of Bay Area favorites and scene stalwarts, including Bilaliwood, Chvck, Cole Odin, Matt Caines, Moniker (Live), Nikita, Ray Zuniga, and Tasho, among many others.
Founded in 1973, The EndUp is one of San Francisco’s most legendary party staples and an after-hours pillar in the city, recognized for its free-flowing atmosphere and for being the world’s longest-running discotheque.
The Real Deal Party Feel will run from 6 a.m. to 10 p.m. and will require that all attendees show proof of vaccine upon entry and wear masks while indoors. You can find the full lineup below, with tickets and more information available here.
