Dutch producer Reggy Van Oers will release his debut full-length this October.
Van Oers put his first record out in 2007 with German imprint Trapez, and has had a run of well-received EPs since, with the likes of Affin, Tongut and his own Telemorph. This year will mark the release of his first ever full-length, dropping on the latter of said labels: Taciturn Manner, an eight-tracker that is packed with experimental, textured techno cuts.
Taciturn Manner will hit stores on October 14. Watch the video for the album’s first cut, “Primal Need,” below.
Tracklisting: A1. Primal Need A2. Taciturn Manner B1. Parietal Defect B2. Corroded By Time C1. Character Arc C2. Imperative Bias D1. Lace Monitor D2. Return To Form
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Based in Spain, DJ-producer Jose Cabrera—stylized J.C.—has been electrifying European dance floors with his barebones techno style for the last decade. With releases on Tresor, Ben Sims‘ Symbolism, and his own eponymous imprint, Cabrera’s sound has touched a wide range of techno corners since he fittingly began releasing recorded music with a 2013 untitled EP. Since that time, the Spanish veteran has been cultivating his approach with a fusion of Chicago, Detroit, and Berlin sounds.
On August 26, Cabrera reignites his studio output with Mugako, which will drop through Svreca’s groundbreaking Semantica label. The release will be the fifth in the imprint’s Exhibition Design series, which has showcased an eclectic cast of artists such as Go Hiyama, Imugem Orihasam, Mod21, and Material Object on CD-R format. “Bixi,” the second of seven relentless, sharp-edged tracks on J.C.’s forthcoming full-length, offers intriguing clues into the Spaniard’s ever-expanding shortlist of influences and reference points.
Grab the track via WeTranfer below, and keep up with Semantica’s Bandcamp here for the release.
A new film entitled Paradise Garage, about the history of the club, is in the making.
The Paradise Garage discotheque, located in New York’s Hudson Square between 1977-87, is widely recognized as one of the most fundamental places in dance music history. It was also the spot that cult favorite Larry Levan would use as a base for a decade long residency.
Director Jonathan Ullman (who some may be familiar with for his 2011 outing Trouble in the Heights) is currently prepping a film about the Garage, featuring Kobna Holdbrook-Smith as Larry Levan.
According to a description on the production’s site, it will depict “the true story of how everything came together despite all odds in the late 1970’s in New York City to construct a cherished space that served as a sanctuary to its members. The film portrays the complicated relationship between Paradise Garage owner Michael Brody and Larry Levan. It covers Larry’s brilliant but short-lived career including his remixing and producing work in the studio, and stretches into the 80’s as AIDS began to tragically decimate the community, ultimately leading to the closing of the club.”
Last year, Ullman also put out a 15-minute short entitled What is the Paradise Garage? Stream it below. For more information and updates on the film, head to the Paradise Garage site.
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On October 14, Hessle Audio co-founder Kevin McAuley (a.k.a. Pangaea) will release his debut full-length album, In Drum Play.
The press release details the album’s ten tracks as “crafted around sharpened motifs that burrow simultaneously into mind and body, they rank among his headiest and most forceful music to date.” McAuley has been at the forefront of a freewheeling UK techno sound since his debut 12″ in 2007, and In Drum Play will further cement his experimentalist reputation.
Ahead of the October release, you can stream album cut “More Is More To Burn” in full below.
XLR8R’s first ever official podcast was published on August 3, 2006. It came in the form of an exclusive hour-long mix by Plug Research, featuring cuts from Thomas Fehlmann, Flying Lotus, Ammoncontact and many more. In the 10 years that have passed since then—yes, this week marks an entire decade—a whole lot has changed. Firstly, the mix series that started all that time ago is now updated weekly by an artist of our choice; each submission is now shared via our channels every Tuesday of the year—without fail. XLR8R, too, has grown considerably, evolving from a San Francisco-based newsprint ‘zine to a web-only music publication with a more global audience than ever before and offices on both sides of the Atlantic.
Settling on a fitting way to mark this milestone proved to be no easy task. Initial ideas revolved around compiling a list of our favorites from the past decade and sharing these with our readers once again, but we decided against this for two reasons: it didn’t do justice to the occasion, and picking a favorite among such a diverse bunch is either going to lead to a remarkably long list or exclude too many others. After all, there has been no shortage of memorable additions to the series. Gerd Janson’s 2015 submission springs to mind immediately, as do those of Alex Smoke, Nicolas Jaar, Helena Hauff and, more recently Andrew James Gustav—but there really is something in there for everyone. Even mentioning these names leaves out some of the leading pioneers in the global scene, names like Daniel Bell, Laurent Garnier, Gaslamp Killer and Floorplan, all of whom have submissions that can be checked out if and when you please. Picking favorites just wasn’t going to cut it.
After some careful consideration we also concluded that we wanted to serve up some new music for the occasion—and that sparked the following plan. Beginning Monday, August 1, and ending on Saturday, August 6, we are sharing a brand new mix each day for your listening pleasure. And to reflect XLR8R‘s growth into a global media outlet, each of these submissions is coming from a different continent; the artists chosen to mark this occasion with us all originate from a different corner of the globe. The task for them was simple: to compile a mix between 90-120 minutes that best represents their musical roots. There have been four mixes thus far—Seekae on behalf of Australia, DJ Nobu on behalf of Asia, Tama Sumo on behalf of Europe, DJ Stingray on behalf of North America, and Culoe De Song for Africa—and up next, representing South America, is Nicolas Lutz.
It’s often said that the cream will always rise to the top, though in the world of electronic music, sometimes it’s hard to believe. Too often the most popular artists are the least talented; however, reflecting on the last few years in Nicolas Lutz’s life does restore confidence in the sentiment. Spearheading a new breed of record diggers, the Uruguayan selector is probably one of the most passionate, interesting DJs out there at the minute, and the past few years have seen him getting the kind of recognition he deserves.
Currently residing in Berlin, the South American migrated from his home in Montevideo back in the late ‘90s, and has since plied his trade in all corners of the world—from Montevideo’s Phonotheque to the likes of Concrete, Fabric or Panorama Bar. It was the German capital that would really be his making though, and one of its most unique, special institutions in particular—Club der Visonaere. The Spree-side shack has provided the forum for generations of local DJs to cut their teeth; today, alongside cohorts Binh and Vera, he is one of the venue’s most recognizable faces.
Trying to pigeonhole Lutz’s style is a fruitless endeavor (though the label he launched back in 2014, My Own Jupiter, goes some way to elucidating his tastes). He pools seemingly endless supplies of lost techno gems, with acid, electro, minimal, breaks, and more or less anything that sounds good. In a recent interview with us, friend and fellow turntablist Andrew James Gustav reflected on the first time he heard him play as a turning point for him, realizing “that there was a higher quality of music out there, somewhere, if you look for it.” His podcast for us captures that idea perfectly; a fluid journey from Lutz’s mind to yours.
Pheeyownah is a Stockholm-born producer, songwriter, multi-instrumentalist, and dancer who up until now has released three records: Under The Dock, City, and her latest, zero9zero9—Under The Dock and City were both self-released, while zero9zero9 found its way to Labrador.
The music Pheeyownah makes is a hazy and haunting version of R&B, with smoky vocals, tumbling beats, and thick bass all working in synchronicity to form her distinctive vision. That vision has further manifested itself with the video for “Vivid, Fearless,” a cut from the zero9zero9 EP. The video fuses together Pheeyownah’s music and dancing with beautifully shot images that project her inner self, as she states:
“Imagine dancing with stones in your shoes while fighting off your inner demons. That pretty much sums up the atmosphere and essence of the video.”
You can watch the video for “Vivid, Fearless” in full via the player above, with zero9zero9 available to purchase here.
Last year, Japanese producer Murakami released his first record on UAE’s Bedouin Records—Deist, an eight track LP that leaned towards drone, industrial and noise stylings. He is now set to return with another full-length, which looks set to deliver similar content (in contrast to the kind of dubby, minimal tunes that have appeared on the EPs he has released to date).
Esto is set to hit stores on September 2. Stream the title track below.
Back in the mid-to-late ’90s, a new breed of techno producers emerged in North America, pushing a sound unlike any other that had gone before. It was a style that embodied rawness of the Detroit artists before them, but with a twist—sheer funk. Amongst them were the likes of Morgan Geist, Dan Curtin and Todd Sines; the kind of acts that producers have tried to emulate for years since, but few with the same kind of spirit.
One of the sound’s pioneering names was Ohio’s Titonton Duvanté. Head of the forward-thinking Residual Recordings (an imprint that was established back in 1998), not only did he bring to the table a wealth of his own unique productions, but he also helped spread the work of many others. After a decade-long hiatus, the label is now back; on the other hand, its owner never stopped the good work, putting out some of his best works to date in recent years with the likes of YAY Recordings, Mosaic and Soul Research.
We are very excited to be able to offer some of Duvanté’s latest work for download today. Upon relaunching Residual, the producer gathered together a collection of artists who give a good representation of what the imprint stands for on the Refraction Vol. 2 EP: straight-up house by Christopher Rau, weird minimal by Jeff Samuel and pumping techno by Garrett David. The final selection (and the record’s finest moment) was Duvanté’s own work, a bouncy track entitled “Concupiscent”. He has kindly shared a live version of the tune, which can be downloaded below via WeTransfer.
Refraction Vol. 2 is out now and can be purchased from Juno. Check out snippets over at SoundCloud.
Look out for other forthcoming releases from the label: a repress of Todd Sine’s sought after Hi8us EP, and new material from John Tejada (both of which can be pre-ordered at Juno).
Montreal-based Patrick Holland first came onto the scene as Project Pablo back in 2014, and has since generated a lot of attention with his warm house sounds; since breaking through with I Want To Believe on 1080p, he has released on Lone‘s Magicwire, Church, and launched his own Sounds of Beaubian West. One For Some will be the Canadian’s debut on Dutch imprint Clone Royal Oak—a four-tracker made up of his usual upbeat house selections.
One For Some will hit stores on September 12. Pre-order it and listen to snippets over at the Clone store.
Tracklisting: 01. No Rush 02. Dustman 03. In The Locale 04. Enough
