Wrapping up a short summer break, Speicher returns with a powerful double bill from rising duo Hunter/Game. It’s the Italian producers’ second contribution to the series, after having amassed quite a few nods with “Hexagon” and “Bermuda.” This was followed by their strong rework of Weval‘s “Gimme Some”— a much-acclaimed highlight of the Kompakt Total 15 compilation.
Ahead of its October 23 release, the Speicher 87 EP can be streamed in full below, with the vinyl available for pre-order here.
You may not recognize the name Ludovic Navarre—but chances are good that you are intimately familiar with the man’s tunes, for Nararre is one and the same as St Germain. And even if you don’t think you know the music of St Germain…well, you probably do if you’ve been to a club in the past 20 years, or maybe even just wandered into a boutique or café that lures its customers in with lush and atmospheric tunes. The French producer broke onto the scene via 1993’s French Traxx and Motherland EPs, released on Laurent Garnier’s F Communications label, but it was in 1995 that the St Germain sound—a dreamy, atmospheric and emotive amalgam of house, jazz and blues—really hit home. That was the year that saw the release of the million-selling Boulevard album and the brilliant single “Alabama Blues,” a song that fully displayed both Nararre’s knack for well-chosen vocal samples (that’s Lightnin’ Hopkins’s “Stranger Here” providing the hook) and his talent for selecting sympathetic remixers (Todd Edwards, Black Science Orchestra, Shazz, Rae & Christian, and Wax Doctor are among those who supplied mixes).
More world-conquering LPs and singles followed—including, of course, 2000’s hypnotic stunner “Rose Rouge,” the inescapable “I want you to get together” cut that sampled its vocals from Marlena Shaw’s live version of “Woman of the Ghetto.” It was, and is, one of house music’s most omnipresent numbers—any tune that can happily sit in both acid-jazz compilations and tough techno sets (Anthony Parasole played it at the recent Sustain-Release fest, for instance) obviously has wide-ranging appeal. The song featured on the massive Tourist album, released on Blue Note, and was soon followed by 2001’sSo Flute EP, a exhaustive series of live dates, and a Navarre-produced album, Memento, from his trumpeter, Seol. And then—nothing. At least till now: This past spring, a new St Germain single, “Real Blues,” with remixes from Atjazz and Terry Laird, hit the shops. And it’s the same St Germain that we remember, with one major addition: Navarre has added the music of Mali, specifically the haunting sounds of the West African country’s hunting ceremonies, into his vibrant mix of live instrumentation, electronics and samples. A self-titled St Germain album, one that continues further cements his love affair for Malian-tinged music, was released on October 9; XLR8R recently had the chance to speak with Navarre through an interpreter as he prepared for an about-to-start European tour, with Navarre joined onstage by eight musicians and singers from musicians and singers from the African diaspora.
This is your first full album in 15 years, and the first release under the St Germain name in almost as long. How have you been spending your time over this past decade and a half? First of all, after touring for about two years, and after about 300 dates, I just had to stop and take a break. My head was full! So I took just stopped, for about six months. Then in 2004, I recorded the album by my trumpet player; in 2005 I did a concert in China; then, finally, in 2006, I started thinking about what I would do for the next album.
Even that was nine years ago! It was a long process. I spent the years 2006 and 2007 as what I call an “audio tourist.” I always have the same influences, jazz and soul music—but I wasn’t happy. I wasn’t excited by it, so I started wondering what I could do that would be new and exciting. Finally, in 2007, I thought that this was maybe the time to start mixing in some sounds from Africa. I started looking towards Nigeria and Afrobeat, and I made some attempts with that—but I still wasn’t happy. So in 2008 and 2009, I started making some further attempts, this time with music from Ghana. It was really complicated.
How so? Just finding the people to do it was, and getting it done. Finally, I gave up on that idea. Then, in 2009 and 2010, I started looking around on the Internet for inspiration, and I started looking toward Mali. I was a bit familiar with music from Mali, but it was when I discovered the music of Malian hunters that it clicked. At last, it started to fall into place. And then I finally started working on this album.
Why do you think the Malian influences clicked more than the the music of Ghana or Nigeria? Was there something specific about that music that spoke to you? I really think it’s the blues aspect of the music. It’s comes through stronger in the music from Mali than the other countries.
And what is it about the blues that does it for you? There’s always such a strong current of it running through your music. Well, it’s very hypnotic music. It puts you in a trance, and then gives you these little jolts that bring you out of that trance. There’s an oscillation that goes back and forth between the hypnotic aspects and the peaks. Malian music has that same feel for me.
A lot of your music, from 1993’s French Traxx and Motherland EPs through to “Alabama Blues,” “Rose Rouge” and now the new album, are in large part defined by what you choose for your vocal samples. What’s your secret to picking the right vocal? Honestly, it’s more just by feeling than any kind of specific process. I’ll make an instrumental track, and I’ll think, hmm, what would work here? And then when I start thinking about what voice to use, it’s more the texture of the voice than anything else. People like Lightnin’ Hopkins have very unique voices; I couldn’t just use any old singer for my music. There has to be a real identity to the voice.
“I like to get remixers who are going to be respectful of the original work in some way, and respect the universe that I’m from. And, of course, I want people who aren’t interested in putting out some vulgar dance track.”
You’ve always managed to get great remix work done for your singles. How do you go about selecting your remixers? That’s pretty simple: I just look for artists and DJs that I like and that I listen too. Atjazz, for instance, has had many remixes over the years, and almost all of them are really good—sometimes better than the originals. So I met him and asked him to do it, but I told him, “Take it easy—don’t do something better than my version!” But overall, I like to get remixers who are going to be respectful of the original work in some way, and respect the universe that I’m from. And, of course, I want people who aren’t interested in putting out some vulgar dance track.
Finally, that mask on the record cover and the video—is that your face? Yes, it is!
Daniel Bortz is set to release his Bella Avgvsta Pt.3 EP, the third part of a series that has included acclaimed tracks “Hot in the Fridge” and “Steady Note.”
There is little doubt that this is Bortz’ most personal and deeply emotional release to date, and a worthy conclusion for the Bella Avgvsta series.
Bella Avgvsta Pt.3 is scheduled for December 3 release via Pastamusik.
Tracklist:
A1. Don’t Forget Your Sword A2. Jump In The Water B1. Lonely Soldier B2. Hide From The Sun
Assured UK house label Black Key Records has been gaining momentum ever since its sought after various artist compilations started dropping back in 2012. The next record in the series is titled Black Key Vol. 3, and the release is shaped overall by a very well considered selection of artists who provide one excellent track each to form a complete record that is at once a step forward for all of the artists—while also putting them on a trajectory towards being classic taste-makers. Iron Curtis & Leaves, Laak, Terrence Pearce, and Dudley Strangeways are all featured on the compilation, which has seen plenty of success in underground circles before now, largely thanks to its rich deep house output from artists such as BLM, Flori, Brad Peterson, and Andy Ash. Today’s XLR8R download comes directly from the compilation by way of Germany’s Smallville associate Iron Curtis, along with his chief collaborator, Leaves. Their humid, uplifting track “Girl Next Door” off Black Key Vol. 3 is a perfect warm house roller with swirling melodies and colorful keys. A subtle bass line and cut effects drive things along to ensure people will dance for days.
You can buy the entire Black Key Vol. 3 compilation on vinyl by clicking on here, and you can grab the track “Girl Next Door” from Iron Curtis & Leaves by clicking on the media player below.
Populous (a.k.a. Andrea Mangia) is a musician and producer that has frequently been supported in our downloads section over the last 10 years. Populous first broke onto the scene in 2002 with his album Quipo on Morr Music, a label based out of Germany that focuses on genres that hover between IDM, pop, and abstract beat-making. Seven years after the issue of Populous‘ second album, Drawn In Basic, he is back to release the remix package of his latest album,Night Safari,out now on Bad Panda Records. Night Safari feels like an exotic trip filled with world sounds, and the album is based around the tale of an imaginary nighttime safari featuring numerous partners along the way in the musical adventure. Clap Clap!, Cuushe, Digi G’Alessio, lokoi, DJ Khalab, and Giorgio Tuma all using field recordings sourced from the four corners of the world to make an extraordinarily unique concept album. The samples for the album were taken from hidden records, African poly-rhythms and kraut synths.
With the title song being remixed by none other than South-African band John Wizards, the track sees a rework that moves easily across genre borders and boundary lines, naturally mixing continental glitch-hop and tropical splendor. You can pick up a copy of Night Safari Remixed by taking a tour of the Bad Panda Bandcamp page.
SFIRE is a duo consisting of beloved Detriot based DJ and Ghostly International collaborator Jeffrey Sfire and a “friend from London,” whose name cannot be mentioned due to the fact that this release is currently “conflicting with this producer’s other commitments.” Regardless of the mystery surrounding the second half of SFIRE, its latest release, SFIRE 6/7, features two searing and determined tracks that give off a “Drexciya meets Pet Shop Boys” vibe.
The dazzling artwork for this release was done by Irish artist Jennifer Mehigan. Originally meeting Jimmy Edgar in Singapore where she was creating 3D Crystal Sweatshirts, Mehigan has since gone on to collaborate with ULTRAMAJIC and has crafted a cool and colorful aesthetic for SFIRE 6/7. You can buy your copy of the release by going to Beatport, or heading here.
Stream the tracks below and be sure to check out more from SFIRE by going here.
In celebration of its numerous accomplishments over the last twenty-five years, Ninja Tune will be hosting a worldwide concert series that will hit London, Amsterdam, and Los Angeles between October 15 and December 12.
For its November 21 date in Los Angeles, Bonobo will be headlining the event at a secret warehouse location. The Ninja Tune luminary will perform alongside a handful of championed artists, including Sepalcure (Machinedrum + Braille), Emon Harkin from Mister Saturday Night, and some very special guests TBA. The show’s visuals will come from Strangeloop, the in-house Brainfeeder artist who has provided stunning graphics and visual shows for the likes of Flying Lotus, Amon Tobin, and many more.
Regular XLR8R readers should be quite familiar with Abandon Building, the US label responsible for some of the most dazzling downloads we’ve offered over the years—like Little People’s remix of Pick A Piper’s “South To Polynesia,” or the Ekoda Map remix of Koloto’s “Kill Screen.” Abandon Building releases beautiful, sincere electronic music from a roster of artists including Random Rab, Set In Sand, and Escaping Animals, among others. The latest artist to drop on the label is Chicago-based producer Edamame, who’s Periderm album is a gorgeous fusion of beat driven sonics. Spread across 20 tracks, and featuring remixes from Set In Sand, Escaping Animals, and Elle Herring, Periderm is being offered as a “name your price” download on Bandcamp. To support the release, we’ve been gifted “Some Whispers,” a stunning cut filled with organic textures, glistening synth work, and delicate percussion. “Some Whispers” can be downloaded for free below, with Periderm available over at Edamame’s Bandcamp page.
Throwing a quality party always comes with numerous challenges that the promoters will have to face, along with a myriad of unknown factors that will undoubtedly have to fall into place for a party to “feel” successful to the crowd, let alone be a profitable event for the promoters who invest their time and money into making the shows happen. These remote factors can range anywhere from the minute-to-minute concerns of the venue owners, the type of crowd that happens to show up at your party, to the inhabitants that call the party space home for the other six days out of the week. Most of the time, these issues are lost on a crowd that just wants to show up and “party their asses off,” having no time for these issues to stand in their way because they have already drawn a diagram in their mind about how their night should unfold. This is a world that unfortunately will continue to turn in the minds of the crowd, completely uncaring of the promoter’s struggles. And rightfully so, since most of them have paid to enjoy the music (LA guest lists be damned), because in all reality, this is the trade off between the promoter and the crowd: promoters throw the party, and dancers contribute to the scene with their money and seemingly good-nature.
But promoters should always bear the responsibility of planning a good party that is both safe and enjoyable for the artists and the attendees. They should also spend some time at their parties personally entertaining guests, while also playing host to the artists who expect a show that is going to run smoothly and that makes them look good to their fans. Another big factor in reaching a high level of party pleasure can ultimately lie in the ability for the crowd to just get the fuck over themselves. They have to put their phone away and stop giving a shit if every detail is impeccable, or if the dancefloor is sweaty because you are dancing in a space that doesn’t have any airflow because two hours ago it was somewhere that had not had a party throw in it for months, and just let go and have the music take them where the DJ guides it. It’s in this area where cohabitation between all that we think we know, and where all that we trust and rely on can be thrown out the window in a moments notice, that we tend to spend the best time of our lives, chucking our bodies at the soundsystem with our eyes closed, where all focus can truly be on the music alone.
This proverbial “sweet spot” is found all the time in Los Angeles if you know where to go looking for it, and for the most part, LA crowds understand this struggle because we deal with it everyday as inhabitants of this wonderful city. We as party-goers in LA really have something special going on here, and with every turn of the page, we thankfully find another class of hungry up-and-coming promoters like Fine Time who are willing to put it all on the line to keep the kick drums blaring and to bring top notch artists like Gunnar Haslam and Matrixxman into these intimate situations for all of us to enjoy.
We as the crowd, and the scene as a whole, are really the ones who are benefiting from all of the hard work that Fine Time is putting into making its shows happen. Anyone who questions the vitality of the house or techno scene in Los Angeles needs to have a talk with Tahl or Kate. These two young promoters are fucking killing it, and as far as I can see it, they have no plans of stopping any time soon. It’s this type of verve and grit that has me completely confident in the future of Los Angeles as a place where you can have it if you want it, and Fine Time obviously want it. Tahl and Kate are not strangers to the scene, but since coming out of the gate in April with their closely curated techno lineups, Fine Time has not promoted one single subterranean show that I did not find uniquely interesting and seemingly fit for going straight to the jugular all night long. Deep down, it is secretly my personal wish that instead of looking to move or expand into more club or venue oriented areas with their house and techno showcases, or working with too many promoters to where the realness starts to become spread too thin, that they will continue to fight the good fight and increase their knowledge of the history of these types of parties they are throwing so that their head-space can continue to push LA into the ideas that I have yet to see the city explore.
I don’t want to blow the load by announcing who they have coming up for the rest of the year, but believe me, they only have top-form DJs coming in November and December, along with Juju & Jordash and Jason Kendig at the end of this month. If you want to know more about Fine Time, visit them online
Following on from the success of Local Talk‘s HNNY Edits, the Swedish label will release Kyodai Reworks, the second in its edit/reworks series, on October 16 on Beatport and October 30 worldwide.
Featuring eight reworks and one unreleased original cut, the release is a masterclass in jacking house, a hallmark for the Berlin-based brothers behind Kyodai. Raiding Local Talk’s back catalogue, Kyodai has chosen cuts from HNNY, Atjazz, and Andreas Saag, among others, to edit and rework into the chunky house sound that the group has made its own. Driven by slamming, club-focused beats, all nine tracks presented will surely find a welcome home in the bag of any discerning house DJ.
Ahead of the release date, you can stream all eight reworks in full below.
