Since the label’s formation by Philipp Jung of M.A.N.D.Y. back in 2006, KINDISCH has been on a steady climb into the most discerning of clubs and record bags of DJs and music lovers all over the world. Now in 2015, the label is ready to begin hosting its own label showcases as it comfortably moves into its tenth year.
Excited to showcase the close family of artists on its home turf, the first official label party for KINDISCH will be held this weekend on Friday, Oct 9 at Kater Blau in Berlin. The showcase will provide listeners with a more up close and personal experience of what the label is all about, featuring sets by Stavroz, Nick Galemore, Dance Spirit, label founder’s, Mia Lucci and Philipp Jung, and a special surprise guest that, while we can’t reveal their name, is certainly an XLR8R favorite and is surely not to be missed!
You can find out all of the details for this showcase by checking out the event listing here, and you can learn more about Kindisch and its label history by visiting its website.
For your chance to win two tickets, give us a follow on Instagram and then enter your full name and email information below. XLR8R will choose one winner that will be contacted this weekend via the email provided. Terms and Conditions apply. Winners will be notified Monday October 12.
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Terms and Conditions:
The promoter is, Polegroup and the agent is, XLR8R.com whose registered office is at 837 Traction Ave #304, Los Angeles, CA 90013, USA.2. Employees of Polegroup / XLR8R.com or their family members or anyone helping to set up the competition shall not be permitted to enter the competition.
There is no entry fee and no purchase necessary to enter this competition.
Closing date for entry will be Saturday, October 11th, 2015 at 11:59PM (PST). After this date the no further entries to the competition will be permitted.
No responsibility can be accepted for entries not received for whatever reason.
The rules of the competition and the prize for each winner are as follows: Only 1 entry per email address accepted Must be 21 years of age or older to enter Prize is for 2 tickets to Pole Group x Wolfskuil x Modularz Showcase at ADE.
The promoter reserves the right to cancel or amend the competition and these terms and conditions without notice in the event of a catastrophe, war, civil or military disturbance, act of God or any actual or anticipated breach of any applicable law or regulation or any other event outside of the promoter’s control. Any changes to the competition will be notified to entrants as soon as possible by the promoter.
The promoter is not responsible for inaccurate prize details supplied to any entrant by any third party connected with this competition.
No cash alternative to the prizes will be offered. The prizes are not transferable. Prizes are subject to availability and we reserve the right to substitute any prize with another of equivalent value without giving notice.
Winners will be chosen at random from all valid entries received and verified by Promoter and or its agents.
The winner will be notified by email within 8 hours of the closing date. If the winner cannot be contacted or do not claim the prize within 1 day of notification, we reserve the right to withdraw the prize from the winner and pick a replacement winner.
The promoter will notify the winner when and where the prize can be collected.
The promoter’s decision in respect of all matters to do with the competition will be final and no correspondence will be entered into.
By entering this competition, an entrant is indicating his/her agreement to be bound by these terms and conditions.
The competition and these terms and conditions will be governed by English law and any disputes will be subject to the exclusive jurisdiction of the courts of US.
The winner agrees to the use of his/her name in any publicity material. Any personal data relating to the winner or any other entrants will be used solely in accordance with current US data protection legislation and will not be disclosed to a third party without the entrant’s prior consent.
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Entry into the competition will be deemed as acceptance of these terms and conditions.
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The mechanically versatile duo 2ndSun, comprised of Northern England’s Olly Stork and Steve Burnett, are set to drop its latest EP Solar Souls, on November 6 via Youngbloods. Having just released its last EP, Quanta, on the industrial, sci-fi inspired imprint Tessier-Ashpool Records, Stork and Burnett have gravitated away from the aggressive and fiercely digital sound for this next release, showcasing the duo’s overall adaptability and a knack for crafting stylish house and downtempo vibes. 2ndSun has been on our radar for a while now and it’s been a pleasure watching the sound gain traction and evolve over the years and we suspect a bright future still lies ahead.
We’ve featured 2ndSun on our daily download section three times, including a most recent track from Olly Storks solo moniker, Cassini. We’ve listed the tracks here, so feel free to download them.
Having recently migrated to the West Coast from Boston, the difference between a “Festival” and a “Gathering” was completely lost on me. Eager to understand and hungry for adventure, I traveled upstate from LA with a friend to Symbiosis Gathering’s 10 Year Re:Union to get my first taste of the wildly immersive and close-knit cultural setting that is seldom found anywhere else in the world.
Since its inaugural year in 2005, Symbiosis has grown 10 fold, this year celebrating its 10th anniversary while ushering in over 10,000 exuberant participants ready to enjoy an unparalleled demonstration of art and music that is brimming with unique displays of dance, education, experimentation, and connection. Free of any corporate sponsors, and with a strong human element that permeates throughout the setting, Symbiosis gives off a feeling of “here and now” that brings people of all different musical backgrounds together in the spirit of sustainability and physical and emotional well-being.
Taking place at the pristine and isolated Woodward Reserve in Oakdale California, the setting is flanked by a delightful and expansive reservoir. Once getting over the painstaking process of setting up camp and coming to terms with the fact that the dust would be inevitably infiltrating our tastebuds and nasal cavities for the remainder of the weekend, the rest of our experience was carefree, lively, and eye-opening. Walking around, the people of Symbiosis formed a kaleidoscope of vibrant styles with a comfort for nudity and a level of resilient expression that I have never encountered before. Everyone’s radiant attitude made smiles contagious and it became clear that the unsurmountable degree of freedom that was allowed to reign supreme over the reserve was only made possible because of the indisputable level of respect that participants had for their fellow man and the land that surrounded them.
The myriad of musical genres represented over the four day event, and with over one-hundred-thirty various artists performing at five different stages scattered throughout the reserve, it was necessary for us to choose our battles accordingly. Colorful performances from the Desert Hearts crew and Gaiser on the night of the opening ceremony ushered in feelings of a positive forecast of sound for the next few days. It was after the first day that I realized this was the first festival I’ve attended where background visuals were nowhere to be seen. I had mixed feelings about this at first but over the coming days came to appreciate how it made such a difference in crowd engagement at each of the various stages.
Max Cooper’s set at “The Grotto” the following day exceeded all previous expectations, dropping a mysterious rendition of Aphex Twin’s “Windowlicker” that had me, and the whole crowd for that matter, spinning. Despite making a noticeable impression, Cooper’s performance was completely eclipsed by Four Tet’s two and a half hour set that followed. Polished, diverse, and tough when it needed to be, Kieren’s set was absolute aces and was further highlighted by his most recent remix of Eric Prydz’s “Opus.”
The most popular attraction during the day was by far and away the Swimbiosis stage. Featuring performances from the likes of Quantic, Justin Martin, and Esta over a three day period, a rowdy wave of gatherers armed with pool floaties would enthusiastically unclothe without a shred of embarrassment or remorse and hurry to the waterfront to languidly float around and dance the day away.
With a new album having dropped only a day before its performance at Symbiosis, Bob Moses swooned the crowd at the Big Island Stage on Saturday night with its signature groove that strikes a perfect balance between what is considered dancey and emotional. Despite being Symbiosis’ biggest headliner, Nicolas Jaar’s performance was baffling and difficult to wrap my head around. Despite showcasing moments of sheer sonic genius, the performance lacked any form of consistency and was both underwhelming and off-putting at times. The Lydia Lunch monologue that he has been so keen on using in his performances lately seemed too harsh for the setting and took up a large chunk of his set time that could have been better spent catering to a crowd that was eager to listen and dance rather than simply look on in confusion and awe.
Upon my arrival to the Juke Town stage the following day to see Blond:ish play, I was heartbroken to find that the fun-loving duo was nowhere to be seen. Juke Town, which resembled an old, dusty scene from a western flick, was also the stage that offered the smallest amount of shade during the day. It was hot and the crowd was scarce. Despite this, Eduardo Castillo continued to play well into his allotted time slot and the heat was a small price to pay for the remarkably eloquent and sophisticated sound coming from the speakers. I’m glad I stuck around because I was then treated to a profound set from electronic duo Extrawelt, who left me wide-eyed and shaken.
Due to the fact that Pantha du Prince was a no show (ugh), Blond:ish ended up playing its set later that night at “The Spring” stage during Pantha’s set time. Despite the issues in scheduling that arose, and the somewhat frustrating lack of communication, all the participants involved seemed indifferent to the changes and simply went on enjoying the worldly, ancient sounding techno that Blond:ish has so knowingly perfected.
While XLR8R primarily came to Symbiosis Gathering’s 10 Year Re:Union for the impressive lineup, it was definitely not the only thing to marvel at. The otherworldly art installations that peppered the reserve, the alchemy village, which dedicated itself to the wellness and nourishment of the gathering’s participants, the Yoga workshops, and “The Hub,” which provided shade and an assortment of informative lectures, were all worthy attractions. Organic food, live painting, tea clinics, healing crystals, vibrant clothing vendors, karaoke, art boats, free range poi, and lessons in permaculture—these things only begin to scratch the surface of what this event has to offer and en masse the experience has ingrained itself into my very being and twisted my worldview. It goes to show that events such as Symbiosis, that prides itself on creating a family oriented and all around amicable community environment, and operating without corporate sponsors, resulted in little to no police action and cultivated a feeling of co-operation, harmony, and acceptance that I’ve never found in my five years of going to festivals.
On August 21 in 2017, Symbiosis will be holding its next gathering in Oregon. The choice of date and location is due to the fact that a total solar eclipse will be stretching across a thin path of the United States and Symbiosis wants to share the celestial experience with all its loyal followers and anyone else who wants to revel in this extraordinary event. You can learn more about the Oregon Eclipse 2017 by going here.
Acclaimed neoclassical composer, Nils Frahm, will be curating a three-day event at London’s Barbican Centre next year. The event is scheduled to start on July 1, 2016, and last until July 3.
According to RA, the German composer will be “premiering new projects and pieces” during the event. Some of Frahm’s peers have also been invited to perform along him in various spaces throughout the centre.
Additional information will be announced soon here.
Considering his adopted nom de musique—enhanced by those capital letters, in case you miss the point—you’d think that the man known as MANIK would be a somewhat frenzied guy. In truth, the DJ-producer, born and bred in New York City, is much more laid-back than his name implies. But his ascendance through the house-music ranks? That’s a whole different story, as his rise has been downright delirious. He first hit the scene in 2011—and he signaled his arrival not through a Soundcloud download or self-pressed vinyl, but with a series of releases on the prestigious likes of Hot Creations, Culprit and Ovum that could have just as easily come from the hands of a 20-year vet.
That was enough to garner MANIK a DJ Mag nod as one of that year’s “breakout stars”…but he wasn’t done yet, soon showing up on the likes of Black Butter and Anjunadeep. More recently, he’s released the Tokyo EP on Nice Age, the imprint run by Totally Enormous Extinct Dinosaurs; scored a few of XLR8R’ most downloaded tracks of the year, a trio of Janet Jackson bootlegs from his edit series; played at pretty much every credible club in the western world (and a few in the east, as well); and been snapped up by Ellen Allien‘s BPitch Control label, which is about to put out the excellent NY2LA EP. As you might be able to tell from all that, the producer’s sound is pretty wide ranging, moving from deep and creamy, to tough and techy, to soulful and funky. And that’s exactly what you get with this mix: the many moods of MANIK. Bonus: You’ll also get a preview of one of those BPitch tunes.
01 Inner City “Big Fun” (intro) (KMS) 02 SAD edit 01 (not on label) 03 Gene Farris “Sometimes I Feel Like Larry Heard” (Relief) 04 Downtown Party Network “On Running” (Futureboogie) 05 Gemil & LCS. “Keep Coming” (Deep Down Slam) 06 Juju & Jordash “Coffin Train Getaway” (Golf Channel) 07 DJ Dozia “Pop Culture” (Phil Weeks remix) (Ovum) 08 Mayday “Sinister “(1st mix) (KMS) 09 Cabin Fever “Snapped” (RKDS) 10 Rushmore “Throwback” (Hot Haus Recs) 11 Armand Van Helden “Break Da 80s” (Strictly Rhythm) 12 Serge & Alden Tyrell “Pump-O-Matic” (Clone Jack For Daze Serie_ 13 MANIK feat. MC Kew G “House Of Cards” (BPitch Control) 14 MANIK “Buffalo Trace” (Nice Age) 15 Alexis Raphael “Chicken” (Madtech) 16 Till Von Sein “One” (Luke Solomon’s Body Mix) (Suol) 17 MANIK “Six Tape” (unknown) 18 Snuff Crew “Thunder” (Basement Jam Mix) (Cosmic Club) 19 Manolo “Night Rhythm” (12” edit) (Dikso Records)
Joel Shanahan is no stranger to rocking numerous aliasas when preparing his projects, and with releases spread out across multiple labels like 100% Silk and 1080p, and now a new release on CGI Records as Golden Donna, its no wonder Shanahan keeps a plethora of production names in his pocket. After proudly supplying two of his next-level cuts for one of CGI records earliest split releases, the Golden Donna moniker is back for a full four-track EP called Seedy Approach. The tracks chosen for this release open up listeners and dancers to a deeper and more diverse side of the multi-named producer. Switching things up for the B-side of Seedy Approach, Mr. Donna treats us to a more melodic, reflective side of his palette. “Secrets” is at once cavernous and verdant, quickly evolving and filling the echoscape with lush, dreamy chords and a whispery texture that is both inviting and comforting, all the while in mutant symbiosis with a percolating and undulating percussion.
Highly prolific producer Ross Tones (a.k.a. Throwing Snow) has been relentlessly honing his craft since first releasing music under his Throwing Snow moniker in 2007. While releasing music via his personal imprints, A Future Without and Left Blank, Tones most recently signed to the Fabric’s label offshoot, Houndstooth, in 2014. After releasing his debut LP, Mosaic, via Houndstooth, he has continued to work with the label to release a number of EPs, his most recent of which being Xema, which is set to drop on October 9.
While Xema’s predecessors, Lumen and Glower, received a great deal of praise, it is safe to say that Xema will be regarded as the crowning glory of these three releases. Kicking off with a distant, fetching bass riff and an invigorating mirba sound, the title track blossoms into a native, uplifting, and club ready track that is bound to make an impression.
If you find yourself in Amsterdam this month, be sure to catch his performance at ADE as part of the Houndstooth Showcase on October 17. You can pre-order Xema by going here, with its title track also streaming in full below.
Alan Fitzpatrick will release his first solo EP for Whistleblower—the label he founded with Reset Robot and Rhymos—on October 12.
Following up hugely successful EPs on Adam Beyer’s Drumcode and Scuba’s Hotflush Recordings, and not to mention his 2014 club-storming remix of Trus’me‘s “I Want You,” Fitzpatrick returns with his latest single, “Tribe,” a gorgeous and uplifting slice of dancefloor-focused brilliance. Not to stand alone, “Tribe” lands backed by two remixes, one from Portsmouth producer Chips Jack, and the other from Prime Numbers label head, Trus’me, who seems to create a certain magic when collaborating with the UK techno maven. For his rework, Trus’me morphs the more euphoric and synth-led original into a heads-down, tribalistic drum workout. Bookended by its gritty drum loop, the track consistently wobbles forward, propelled further along to its seven-minute finish by a driving and squelchy analogue bassline and synth.
Ahead of the October 12 release date, Trus’me’s remix of “Tribe” is streaming in full below.
Glasgow’s 400-capacity Sub Club is its most revered and venerable clubbing space, having opened in 1987 and only ever moved premises to allow for reconstruction after a fire at the end of the 1990s. Todd Terje last played there in summer 2012 at Harri and Domenic’s Subculture night, which also hosted this September 12 show. The Sub Club was a small venue for Terje back then, and is even more so now that It’s Album Time has been a huge success and “Inspector Norse” has reached such levels of public recognition—hearing it belted out by worse-for-wear revellers in a city-center taxi queue wouldn’t be a huge shock.
Terje’s last engagement in the city was at last year’s Optimo (Espacio) Revue at the much larger Barrowland venue, but the respective atmospheres of the two nights were pretty much the same: crammed, sweaty, and very excitable. Terje’s live setup on the Sub’s small DJ booth-adjacent stage was pared back from the full-band show with Delorean-heavy visuals that’s become a familiar sight at festivals in the last year or so. This was a solo performance, with his large red and black Nord Stage 2 keyboard the centerpiece, and only a couple of other pieces of equipment around it. Despite this—and the gapless, DJ set-like way Terje plays these sets—the whole thing had a gig-like feel not often seen in the Sub Club, with a crush at the front and total focus on the artist.
Crowd reactions to more than just Terje’s best-known track spoke to the level of success he’s attained of late, with “Deloran Dynamite” and “Strandbar” greeted with particular fervor. For me, though, the show’s most pleasurable moments came when the pace dropped a little, when Terje’s talent for draping shimmering atmospheres behind his intoxicating piano lines came further to the fore. He and Bryan Ferry’s cover of Robert Palmer’s “Johnny and Mary,” was the most obvious of these moments, but “Swing Star Pt.1” gave a faster-paced iteration of the same luxuriant, soft-focus feel.
The inevitable finale of “Inspector Norse” was greeted with an equally inevitable pogo-crush frenzy, and, as with last year’s Barrowland finale, it was an intoxicating sight, whatever your appetite for actually being right in the middle of it. A mini-exodus for the front door immediately followed, many just for a cigarette or some much-needed fresh air, but some, no doubt, to go and belt out the track they’d just heard in a taxi queue. Such is life when your star rises as high as Todd Terje’s has.
