Maher Daniel (No.19 Music, All Day I Dream, Get Physical, Rebellion) and a special surprise guest are set to play a four hour all-vinyl set at a private location in DTLA. The show, presented by Dialogue, is slated to run from 11pm – 6am.
The San Francisco born DJ, producer, and label head has been gaining substantial recognition in the past few years in the techno and house scene. His career started to propel when he secured his first residency in his hometown of Montreal at Stereo Nightclub which saw him opening for some of the scene’s most recognized artists including Sasha, Ricardo Villalobos, and Richie Hawtin.
The night will also feature support from MD, a well known disco and house duo who have made their mark LA’s burgeoning after-party scene.
Just before the new year, the NYC-based cosmic bedroom producer known as Space People released his impressive twenty-track debut beat tape titled SHMM on the choice New York imprint Styles Upon Styles (S.U.S.). The entire tape was recorded at his parents house and, as he told FACT, he “only listened to Earth Wind and Fire while I made SHMM–who knows what that did.”
Evidently, it did pretty good for the budding producer’s musical output. The untimely ruckus and cosmic-induced reach and feel of the tape is refreshingly unique and off-putting in the best possible manner. We were such fans that XLR8R reached out to Styles Upon Styles for more and both the label and the producer graciously provided today’s download, “Cars.” Starting off with echo and dithering vocals, the track mutates into a bubbling, neck-snapping beat with unruffled synth work and jumping percussion.
You can download the track in full below and be sure to check out more from Space People by visiting his SoundCloud page here.
You can purchase the album SHMM by visiting the Styles Upon Styles Bandcamp page here. This month, S.U.S. records will be donating 20% of proceeds from physical sales to the NPAP for the month of January.
“This record represents the foundations of Low End.” – The Gaslamp Killer
Following the second annual Low End Theory Festival and its ten-year anniversary, the iconic Los Angeles collective and residency known as Low End Theory has come together with Serato to present an unprecedented vinyl collaboration.
The vinyl features original productions from some of the core members of the L.E.T. crew which includes The Gaslamp Killer, DJ Nobody, Daddy Kev, and Nocando. While the A and C sides of the records present new original joints from the revered LA artists, the B and D sides feature Low End Theory branded Serato control tones.
The original jacket and label artwork by surreal, kaleidoscopic collagist Albane Simon.
Four Tet has posted two unheard collaborative tracks with the relatively unknown Australian sound technician Casey Rice (a.k.a. Designer) and the UK Bass paladin, Champion. Completely out of the blue, the two 12″ are set to come out on Kieren’s Text imprint, with the SoundCloud caption claiming the releases will be “available in all good record shops soon.”
You can stream both tracks in full below, and be sure to check out more from Four Tet by going to his SoundCloud here.
Next week, Berlin-based duo and self-titled label A Sacred Geometry will drop its latest release, Chapter II.
Fascinated by the concept of sacred geometry in nature, the two artists met and formed A Sacred Geometry in 2013 in Berlin, with the first EP, Chapter I, following shortly after. The latest EP, Chapter II, follows suit and presents a highly detailed sonic world that is atmospheric, hypnotic, and rhythmically driven. Suited both for the dancefloor and home listening, the EP’s three wide-ranging cuts perfectly reflect A Sacred Geometry’s manifesto—which is to “present techno in a different light and separate it from its typical dancefloor habitat.”
Dropping on January 22 on A Sacred Geometry, Chapter II can be streamed in full in the player above.
Offering a wide array of various musical genres, the second edition of the diverse boutique festival, Further Future, has just announced that they will be adding recent Grammy nominee for Best Dance/Electronic Album, Caribou (a.k.a. Daphni), to their increasingly profound artist roster. Further Future will be the perfect place to display his highly-revered album Our Love, which is widely hailed as one of electronic music’s most celebrated albums of the past few year. FF02 will return to the Moapa River Indian Reservation just beyond Las Vegas, maintaining the events particular festival atmosphere that uses an eccentric, futurist aesthetic while offering a immense spectrum of music that is seldom found in such a setting.
Lee Burridge, Nicolas Jaar, Four Tet, Easy Star AllStars, Kid Koala, DJ Tennis, Dixon, Oneohtrix Point Never, The Pharcyde, &ME, Daedelus, Derrick Carter, Crazy P, Leftfield, WhoMadeWho, Tropic of Cancer, Birds Of Passage, Greg Wilson, Terry Francis, Telefon Tel Aviv, Elderbrook, Fort Romeau, Andy Stott, Low Leaf, HVOB, Papercutz, Still Corners, Idjut Boys, Frank & Tony, YokoO, Derek Hena & Zach Walker, Lambert, Satori, H Foundation, Anchorsong, Spacebyrdz, John Wander, Raeo, Tim Love Lee, Donato Dozzy, Ebar, Hauschka, Inland Knights, Jam City, Jane Fitz, Joakim, Joeski, Kimball Collins, Lusine w/ Trent Moorman, Matt Tolfrey, Neel, Caribou, Pattern Drama, Pedro Aguiar, Rampue, Rival Consoles, Stev, Talal, Voices From The Lake, Benjamin Alexander, Swamy, John Dill
After dropping the 32-track compilation behemoth Paradise Goulash to help close out 2015, Prins Thomas wastes little time getting back on the wagon with his new double EP, Toransu. This marks the 50th release on his Full Pupp imprint, and plays like a sorbet palette cleanse after last year’s full-course meal. A mix of new material and reworkings of previously released tracks, Toransu offers up just enough to whet the appetite without weighing you down.
Opener “Meiro” uses subtly insistent drums and lush, sun-dappled chord progressions to reach the same cruising altitude as the Orb’s ambient-house classic “Little Fully Clouds.” Rather than rocketing you into the stratosphere, the melody continues to float higher—in no rush, like a scenic balloon ride. From there, Thomas slides into two new takes on tracks from his last proper LP, III. Where the original “Luftspeiling” materialized from a near drum-less haze, the 12” featured here drops in a deep-house thump better equipped to illicit a dancefloor two-step, but no less appropriate for night-bus headphones. (A second, druggier version of “Luftspeiling” also appears later on the EP.) “Trans” (12-inch Version), meanwhile, ratchets up the danceability by compressing the original’s Kraftwerk-inspired chug into an even tighter motorik 4/4 rhythm.
Things loosen up a bit on the title track, as a freewheeling assortment of tom-toms, cowbells and bongos flavor the bassline with a taste of Paradise Garage-style Latin heat. But the closest things come to hands-in-the-air excitement is the muscular Chmmr Change Trains remix of “Stockholm Express.’” This version blows out the low end of the original’s sophisticated, dinner-party disco, making a chunkier electro stomper in the process.
Overall, Toransu seems to be one for the fans. It’s a reward for the faithful who have put their trust in one of dance music’s most prolific producers as he quietly ushers in a milestone release, one that helps to cement Full Pupp as a shining star in the deep expanse of space disco.
Revered Chicago house legend Larry Heard (aka Mr. Fingers) has announced the release of a new EP under the well-known, aforementioned alias, set for release next month. Called Mr.Fingers, the upcoming 12-inch has a total of four tracks that explore a variety of different genres ranging from acid to minimal tech-house and ambient elements. The four-tracker will be Heard’s first release under the Mr. Fingers name in over 10 years.
Hear the record’s previews on the player, below.
TRACKLISTING:
1. Outer Acid 2. Qwazars 3. Nodyahed 4. Aether
Mr.Fingers will drop via Alleviated Records and will be exclusively available on Clone distribution in late February, 2016.
InClose is the moniker used by an enigmatic French multi-instrumentalist producer who combines organic compositions and original productions to form dreamy-yet-grounded soundscapes. The reception of his energetic live sets has also earned him a supporting role alongside many major French acts over the past 12 months.
With his latest single, “Bright Phantasy,” InClose offers a melodic techno track that skilfully mixes deep house and various analog textures to create something that feels classic but also fit for the dancefloor. In many ways, this can be seen as a new chapter for InClose, and we look forward to seeing what comes next from this promising young recording artist.
You can find out more about InClose by visiting him on Facebook, and you can download the track “Bright Phantasy” by clicking on the media player below.
Daniele Antezza’s (a.k.a. Inner8) recently announced label, Holotone, will release its first EP, Tetramorph, on March 21.
Like most of Antezza’s previous releases—both as production duo Dadub and Inner8—it’s a deep, engrossing, and ultimately rewarding collection of highly detailed sonics which push Antezza’s sound further forward. The EP will also feature Japanese artist Koichi Shimizu, who lends his expertise to the EP’s closing cut.
Antezza will officially launch Holotone with a showcase at Berghain on January 30, followed by two shows in Bangkok and Tokyo on February 13 and February 20, respectively. In the lead up to the launch, XLR8R had a chat with Antezza about Holotone’s identity, his collaboration with Koichi, and the upcoming showcase at Berghain.
As Tetramorph is the first EP on Holotone, what can we expect from its debut? How would you define the identity and purpose of Holotone? The Tetramorph EP is my personal artistic contribution to Holotone. I haven’t conceived it as a precise definition of the kind of sounds that Holotone will release in the future or as a sort of label “manifesto.” The reason why I haven’t is because I don’t want to specify the identity of the label to any specific music genre. I don’t usually like to look for definitions when I talk about music and art, because it should be a pure free expression of an artist creativity. The purpose of Holotone is to be creative and challenge the boundaries of classic ideas of genre, to deconstruct the artistic path and be able to liberate creative energies instead of reproducing existing aesthetics. In my opinion, the beauty of art is exactly in the power of its creation, and looking for a definition might contribute to annihilating its magic.
For the last track, “Aufhebung,” you have collaborated with Japanese sound engineer Koichi Shimizu. How did you cross paths and what made you decide to produce together? Which elements and techniques did Kochi add to this track? The first connection I had with Koichi was a few months ago when a mutual friend put us in contact. We started to share feedback about our music and then he sent me his album, “Otolary,” released for his own Revirth label, which I found extremely beautiful—because in my opinion it is a perfect example of how it is possible to combine an extremely technical attitude with a very sensitive and meaningful artistic approach, what I really love when I experience music.
During the composition of my Tetramorph EP, the idea to propose a collaboration to Koichi came naturally—he immediately accepted and we created “Aufhebung,” sharing our sounds via the internet. What he added is his deep knowledge into modular synthesis and sound design plus his elegant aesthetics, giving to the track the exact “aura” I was missing. It was a fresh and spontaneous creative flow, and am looking forward to trying again when I’ll be in Asia next month, but this time jamming live.
Holotone will be launched with a showcase at Berlin’s Berghain Kantine and is followed by a “Holotone Asia Showcase” in Tokyo and Bangkok. What kind of vibe would you like to establish at these events? Will it be different comparing Berlin to Asia? How have you selected the artists involved in this first showcase in Berlin? The vibe I want to create is, artistically talking, a vibe of freedom of expression, for the artists and for the crowd. I want to push eclectic and almost anarchist approaches, not the standard practice. Standards are useful to market and manage, but they tend to paralyse the revolutionary power of art. For the Holotone showcases, I want to bypass the separation between “party” and “experimental event,” because the music itself must be an experience with no need of categorised behaviours. Just express what you feel. Do you want to express yourself dancing and moving your body? Do it. Do you prefer to stay silent and enjoy the performers sound design? Then do it. I don’t think there will be big difference between Berlin, Asia, or (as I hope for the future) other countries, because, for me, music has no physical dimension—if it is true and pure in its aim, then we can speak and understand the same language all over the world.
The artist selection for the Berlin Holotone Showcase (GRÜN, S13, Alexander Stone, Sofus Forsberg, Ina Ynoki, Cubert, Linus Gabrielsson and myself as Inner8) has been inspired by my huge admiration for all of them them—in my opinion they are all extremely talented artists, and they all have a very true approach in what they do. I think they will make the event really special. They are also artists that for different reasons have contributed to inspiring my journey during these last few years, because having the possibility to share opinions, ideas, and so on, with people like them is a treasure, and it is rich.
