Fred und Luna – ostensibly two stylish mannequins with bright red hair – will release their new ‘Im Tanzrausch’ EP via Compost Records on 22nd March.
The project – which is actually that of one artist based in Karlsruhe – readies this new four track EP just a month after the release of the ‘Im Tiefenrausch’ LP, also on Compost. This new EP finds the act putting more focus on the dancefloor, with club-fit rhythms and hefty bass grooves. Nonetheless, the act’s fondness for all things krautrock and experimental endures with jaunty pacing and off-kilter moments.
“I've always been a student of cultural movements in a way,” Butler tells DJ Mag over Skype, speaking from their childhood home in Bermuda in between North American tour dates. “And I feel like one of the fundamental aspects of genres like punk, house, techno and hardcore was this idea that, as an individual, there is a place for you within this greater community. There is a place for your voice. Your individuality within that space is valued.”
Flora Yin-Wong’s fusion of experimental electronics with organic sounds is an absorbing one. A multi-disciplinary producer and DJ, the London artist has, in a relatively short period, released tracks and EPs on revered labels including PAN, PTP and C.A.N.V.A.S. as well as remixing friends and contemporaries such as J.Colleran, Giant Swan and Scintii.
“It's very, very ad hoc,” she adds, describing her production technique. “Club music was something I grew up with and resonates most with me but it didn't occur to me to make club tracks. I generally struggle with a lot of acoustic music but love specific organic/natural sounds – so have been drawn to put together maybe disparate things.”
Last track that blew your mind?
“Cam Deas ‘Time Exercises’”
Last film you watched?
Last DJ set that blew your mind?
Favourite album to relax to?
“Francisco Lopez - ‘Wind (Patagonia)’”
E-Saggila - Glass Wing
Pearson Sound - Rubble
Tzusing - Circa Taipei
Demdike Stare - 40 Years Under The Cosh
Cienfuegos - Slipping Venus (Entro Remix)
Aquarian - Ten Years (Leather Jacket Mix)
Hodge - You Better Lie Down
Beneath - 5050
Joel Eel - Body Builder
TSVI - Realm of Jabarut
Gondwana - Quetzalcoatl
Lee Gamble - BMW Shuanghuan X5
Sophia Loizou - Loop of Perception
Uruguay’s Lila Tirando a Violeta will release her new album ‘Sentient’ via Canadian label New Motions this Sunday 17th February.
The experimental producer – real name Camila Dominguez – has previously released on labels like Dream Catalogue, Collapsed Structures, and Aescape Sounds, as well as having mixes featured on stations including NTS.
The worlds of hip-hop and house, once seen as so separate, are increasingly compatible — look at artists such as Kaytranada or Andres, and their effortless mix of the two. Snips is another name to add to that illustrious list, a former Londoner and now New Yorker who helped start the UK’s long-running Livin’ Proof club-night.
Ireland's Open Ear festival is set to return to the idyllic Sherkin Island for its fourth run, taking place over the May Bank Holiday (30th May - 2nd June).
Billing a wide set of experimental live acts and DJs including Garies, Maria Somerville, Club Comfort, Aoife O'Neill, Sias, T-Woc, and many more, the four-day festival blends avant-garde soundscapes and radiant club sets with picturesque scenery for an entirely unique event. Check out the full line-up below.
Breakthrough Irish producer and live act R.Kitt will be the next artist to feature in the Shock World Service podcast series.
The label, mix platform and occasional party was launched back in 2007 by London-based DJ Jon Averill with the intention of highlighting and sharing music that looked away from the dancefloor and more toward the abstract, experimental and ambient reaches of its DJs’ tastes.
Few artists submerge you in darkness in quite the same way as Christoph De Babalon. With engulfing ambience, depth-charge bass drones and hyperventilating breakcore and jungle beats, the Hamburg-raised, Berlin-based producer has, for over two decades now, etched an unmistakable sonic persona onto an increasingly greyscale planet.
Christoph de Babalon isn’t interested in being a spokesman for doom. He apologises more than once when conversation steers toward his dour mythology. He laughs off the idea that his music is anything more than a necessary personal pursuit, and he certainly doesn’t think the world had to hit this particularly low tide to properly appreciate the 15-minute drone dirge of ‘Opium’ or the convulsive percussion of ‘My Confession’.
Few contemporary ambient artists can capture melancholy quite like Ian William Craig. Using tape loops, electronics and organic instrumentation to accompany his distinctly gossamer-light and classically trained singing, the Vancouver composer stands among the likes of Grouper, Julianna Barwick and William Doyle as an artist for whom the human voice is an essential instrument in the ambient orchestra.
Hi Ian. How are you doing? How has 2018 been? What have been the most significant things to happen for you this year?
Your use of tape loops throughout your catalog has always invoked the poignancy and William Basinski’s ‘Disintegration Loops’ and the capturing of “real time” and distinctly momentary sounds. Was he a direct reference point when you started to compose the way you do now? Can you explain what drew you to tape initially?