Premiere: Hear a New Track from Lance Neptune

Back in February, Maryland-based producer Lance Neptune released Animal Eclipse, his debut release for Lone’s Magicwire.

The six-track EP reignited Magicwire, which had been on a three-year hiatus, with a lo-fi collection of hazy summer jams that perfectly fit the label’s sound and ethos. Built around playful percussion, breezy pads, and considered vocal chops, Neptune’s music is feel-good house of the highest order.

Neptune’s latest single, “Circle Rose,” follows the same sun-soaked path: with its muted drums, intertwining melodies, and groove-led bass, it’s the perfect follow-up to Animal Eclipse.

Ahead of a forthcoming, as-yet-unannounced release, “Circle Rose” is streaming in full via the player above, with more music from Neptune available here and here.

Leesa Releases New EP on Taub Recordings

Hailing from Ghent in Belgium, the ravishing tech house regent known as Leesa has been putting her dazzling stamp on Europe’s electronic music scene for over five years. After winning a few DJ competitions at the start of her career, Leesa has relentlessly toured and pursued her passion for deep house and refreshing tech sounds to the point of no return. The artist’s dance music compulsions have brought her to venues scattered throughout the continent, resulting in a widespread and loyal fan base that come out in droves to groove to her music.

Having already released a number of EPs on the Ghent-based imprint Atmosphere, Leesa has taken a bold step outward by teaming up with the promisingly fresh music label, Taub Recordings. Her new EP, titled Coachan/Gloom, showcases Leesa’s ability to create chipper and good-natured dance tracks that possess an elastic energy that goes completely unspoiled.

You can purchase the EP by going here.

Catch a preview of the track Coachan below.

Studio Essentials: Linkwood

Linkwood‘s career as a producer can be traced back to 2003 when he released “Miles Away” via Scottish label Firecracker Recordings. The release, a three-track Various Artist EP, emerged with little fanfare, distributed exclusively by vinyl junkies out of Soho, and nothing more.

There has since been a string a further releases, including two LPs, the majority of which has been shared between Firecracker and its offshoot, Shevchenko. But output from Edinburgh-based DJ-producer is slow to say the least: there have been only four additions to his discography in the past five years, the last one of which dropped towards the back end of 2015. The reason for this is simple: quality over quantity. His most recent full-length took over three years to mould into a shape worthy of the public domain. “I feel no need to release records each week to get gigs over the world,” he continues. “I release records only when I’m happy with the music. It just so happens that this isn’t very often!”

And it would seem like a justifiable strategy. International demand for his DJ skills is high, and he has earned himself a solid and seemingly growing fanbase, all of whom share a common appreciation for the lo-fi, warm qualities of his productions. More material is on its way, although there are no specific details as to what this entails—but this alone is reason for excitement. With this in mind, we thought it would be a nice opportunity to discover the key studio tools behind his success.

AKAI MPC 4000

I only just got this last year. I had to sell my trusty AKAI MPC 60 MK2 and some other choice bits—including my E-MU SP12 and Roland TR-808—when times were hard. That hurt, as I’d done most of my output to date with those machines, though now I’ve moved on! It had taken me ages to find the right MPC 4000 in the UK, as they were pretty much a flop over here (whereas in the States the hip-hop guys loved them).

Do I like it as much as my old 60 MK2? No, but it’s a beast and it syncs perfectly, so it’s staying! I was hoping that because it’s a full-blown sampler inside, I wouldn’t need my old E-MU Rack Sampler anymore; however, it can’t do some things that E-MU can (mainly in the mod matrix).

I’ve always been an MPC-head, and this one has now become the central hub of my studio: everything is hooked up to it, so I guess it is essential!

Innerclock Systems Sync-Lock

This was an answer to my prayers, and probably the most important thing I’ve bought for my studio in years. Ever since I moved on from the Atari way back when, I’d never quite managed to get that same feel when all my gear was synced up to my computer.

It was nice to know I wasn’t alone, as this guy working for Innerclock Systems over in Sydney was designing this box of tricks to solve that issue. I think I was one of the earliest folk to jump on it and I’ve told so many people to check it out since. It’s funny—I could actually send my unit back to Australia to get it updated, but I can’t be without the thing. To cut a long story short, it provides stable MIDI clock from your D.A.W. (a phrase that I really dislike), so it is also essential in my studio!

Roland Juno-106

I got this off a guy in Glasgow many moons ago for £150, and I can safely say it has been used on every tune I’ve done since. There are way better synths out there, but the Juno-106 has a sound and a richness to it that I love dearly (something that I am obviously not alone in).

One of my goals when making a track (which I don’t achieve very often), is to only use one sound: to make one synth sing. The Juno is great for this, and I’d be totally lost without it, so it goes on the list.

ADR Compex

I’d say that this is definitely an essential part of my sound, as it sits on my Mixbus permanently. It’s an amazing sounding British compressor, complete with transformers on the outputs. It’s become really expensive these days, and for a reason.

It was most famously used on the drums in Led Zeppelin’s “When the Levee breaks,” but I love using it on a whole mix. It was actually made the year I was born, back in the ‘70s, and every time I turn it on I’m thankful when it lights up (a bit like when I wake up in the morning).

Aerobie Aeropress Coffee Maker 

The Aerobie Aeropress compresses like nothing else in my studio! My brother bought it for me for Christmas a few years ago and I use it every day. What’s a studio without good coffee?

You can catch Linkwood in London this weekend at Found Festival. More information here. 

DJ Koze Remixes Mano Le Tough

Two DJ Koze remixes of Mano Le Tough‘s “Energy Flow” are set for release via Permanent Vacation.

The original version of track, included in Mano Le Tough’s 2015 Trails long-player, has long been a played out by himself, Dixon, Âme and many more.

Tracklisting:
01. Energy Flow (DJ Koze’s Miles & More Remix)
02. Energy Flow (DJ Koze’s Splasher Remix)

Energy Flow (DJ Koze Remixes) is scheduled for July 1 release in digital and vinyl formats via Permanent Vacation.

Specta “Obscure Surface”

This new EP on Code Is Law label comes from Pavel Gurov (a.k.a. Specta), a great talent who has his roots based in the Lithuania jungle and dubstep circles.

The four-tracker, which arrives on June 14, contains heavy techno with old-school vibes. The whole sound design has a rough and raw aesthetic, while all tracks take focus on the dancefloor with a massive bass drum, evil vocals and rhythmic synth lines.

Tracklisting:
A1 / 1. Envoy
A2 / 2. Obscure Surface
B1 / 3. Empire
B2 / 4. Disperse

Ahead of the EPs release, the Berlin-based label offered “Obscure Surface” as one of today’s free downloads.

Obscure Surface

Metroplex Preps New EPs for Summer

Juan Atkins‘ long-serving Metroplex Records has announced the release of three new EPs due out this summer.

First up is Terrence Dixon under his Population One guise, who returns to the Detroit imprint after his 2014 four-tracker A Mind Of His Own, and is followed by an EP from Kimyon. Later this summer, making his Metroplex debut is Miami-based Arnold Steiner, who may also be known for his releases as As1 and Raw Mechanics, and for his work as head of Transient Force. His Mood Sequence EP will also feature a collaborative remix from label head Atkins and Kimyon.

The three EPs are due out over the course of this summer. Pre-order Population One’s Detroit City At Night from Juno.

Tracklisting:
Population One – Detroit City At Night
01. “Out Of Phase”
02. “Going In Circles”
03. “Down The Lodge”
04. “Detroit City At Night”

Kimyon – Pema Ozer
01. “Steep”
02. “Steep (Kimyon’s Wknd Drum Remix)”

Arnold Steiner – Mood Sequence
01. “Mood Sequence”
02. “Mood Sequence (J K Remix)”
03. “In The End”
04. “Inertia Collision”

Clouds Return to Electric Deluxe

Scottish duo Clouds have released a two-tracker via Speedy J‘s Electric Deluxe imprint.

Calum Macleod and Liam Robertson emerged under their Clouds moniker around the turn of the decade, and have been pushing their dark, tough strain of techno via labels like Turbo and Soma since. Following their debut release with Speedy J’s Electric Deluxe earlier this year (the Timeslip Roadmender EP), the pair are back with two new cuts on the Dutch producer’s label. An Outrageous Fate Type pursues a similar aesthetic, falling somewhere between dirty techno and jungle sounds.

Electric Deluxe has prepared a very limited pressing of An Outrageous Fate Type, which can be purchased from its store now (and comes with digital download, too). To accompany the release, visual artist Florence To has prepared a short trailer which fits nicely with the duo’s apocalyptic sounds.

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Check out snippets from both tracks below.

Photo Gallery: Lightning in a Bottle 2016

This Memorial Day weekend marked the 11th edition of Lighting in a Bottle Music and Arts Festival, the lovechild of Los Angeles-based production force DoLab. Best known for their curated stage at Coachella, DoLab has become a cult favorite in California, enticing festival enthusiasts with their unique structural aesthetic and eclectic musical programming that often ranges from house, techno, and disco to indie dance, trap, and bass music.

With 2016 being the third return of Lighting in a Bottle to its Bradley, CA location, as well as the first year the festival sold out before gates opened, XLR8R was eager to see if the event would align with its reputation as a leader in the transformative festival scene. Musically, the festival lived up to and even exceeded expectations. The Woogie Stage stood out as the clear highlight of the weekend—its colorful misting pillars and glowing “pipe” stage, when combined with the world-class house and techno of Madga, Steve Bug, Lee Burridge, Four Tet, Josh Wink, and many others generated an industrial forest-rave atmosphere that was difficult to pull yourself away from. LIB’s Lightning Stage was also impressive, hosting stellar performances by headliners Moderat and Jamie xx that left the crowd completely thunderstruck. But the best surprise of the weekend came from the small, quirky, laundry-laden Favela Bar, where deeper selections from the likes of Patricio and Marques Wyatt were the perfect after-hours remedy. The event certainly had its challenges, however, as blazing 100-degree heat and shockingly unorganized entrance and exit procedures left many attendees moody and disheveled by the end of the weekend. Despite this, the seemingly countless lectures, yoga classes, art installations, craft vendors, and musical performances available at Lightning in a Bottle proved that DoLab has created something truly unique and extraordinary in Bradley.

To better illustrate all that happened this past Memorial Day, we’ve put together a grouping of the best shots from the festival.

DoLab’s next production is Woogie Weekend on July 8-10. Click here for more information.

Photos by Ali Alavi and Juliana Bernstein.

Click on a photo for gallery browsing.

Photo Gallery: Discwoman at Movement Detroit

This year marked the second annual Discwoman after-party at Movement Detroit, held on May 28 at UFO Factory.

Discwoman has gained considerable notoriety since its inception in 2014 as a musical platform and collective dedicated to transgender women and gender queer DJ’s and producers. Lead by residents Umfang and Volvox, the collective has paved the way for queer female visibility in electronic music, and has played a key role in the revitalization of the queer techno movement in the United States. The brand’s highly anticipated return to Movement, which featured the Detroit debut of Aurora Halal, as well as sets from Stacey “Hotwaxx” Hale and the Discwoman residents, certainly lived up to expectations—proving that promoting queer and female visibility in dance music only leads to more diverse lineups and therefore more diverse, welcoming, and open-minded parties.

To get a better sense of the gender-bending action that occurred last weekend, we’ve gathered a few snapshots to illustrate one of the most significant events in the queer techno scene today.

All photos by Luis Nieto Dickens.

Click on a photo for gallery browsing.

Raime Tooth

Joe Andrews and Tom Halstead are London-based duo Raime. The pair debuted under the name in summer 2010 with their self-titled EP, which, evidently, was the first 12” release for their spiritual label home Blackest Ever Black. The three-tracker, however, wasn’t their first contribution to the label: just before it dropped, Andrews and Halstead put out a limited-edition CD-R mix titled You Can’t Hide Your Headcrack.

These aforementioned releases provided the first taste of the duo’s singular sound and, along with the subsequent EPs—If Anywhere Was Here He Would Know Where We Are, The Three Chambers Of Our Entities / Living In The Gaps We Cannot Jump, and Hennail—and the duo’s debut LP, Quarter Turns Over A Living Line, they have manufactured an aesthetic for both themselves as artists and the imprint.

But recent years have seen a considerable decrease in the duo’s output: the only addition to their discography since their 2012 debut LP has been the Moin EP via their Moin side-project. However, both of these releases indicated a shift towards live instrumentation, something that Andrews and Halstead developed further during this quiet period—and it is the fruits of these labors that reveal themselves throughout their brilliantly conceived forthcoming LP, Tooth.

From opening cut, “Coax,” it’s clear that Raime has refined and sharpened its sound into a more futuristic and synthetic palette. Pulling back on the doom-laden drones and reverb-drenched atmospheres, the duo place haunting strings and guitars at the forefront—it’s Raime through and through, but with a stealthy, unwavering edge.

On “Dead Heat,” the duo utilize soundsystem-like bass, winding guitar riffs, and snarling stabs for a tough-as-nails outing that channels the pure anarchism of post-punk. The winding guitar riffs continue throughout the album, mutating slightly with every turn as the underbelly of each track morphs. “Hold Your Line” and “Front Running” touch on grime’s wide-open, skeletal framework, interspersing sub-bass and spacious strings with neck-snapping percussion.

Plenty of Tooth, especially its second half, evokes a tech-noir soundtrack: bleak, alien, and emotionally-drenched. “Dialling In, Falling Out” and “Glassed” offer somewhat of a breather from the ferocity of the first half, albeit a haunted one. The pairing of “Cold Cain” and “Stammer” close the LP in a fitting manner: both employ very similar guitar licks that wind their way in and out of each track, building intensity to a dystopic finish.

Tooth is best devoured as a whole and without distractions; its singular sound and delivery is one that Raime has tirelessly honed into a steadfast concoction of brooding dystopia.

Tooth will be released via Blackest Ever Black on June 6, with the album available to pre-order here.

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