The veterans always have the gem tracks, The Beat Broker delivers every time.
Tracklist: Jex Opolis Presents: In The Nite “Guitar Sands” Pete Herbert and Martin Denev “Batu Karang” (Joe Morris Balearic Shades Remix) Chord Memory Band “Donostia” Coyote “Engineered Garments” Daniel T “Fahrenheit” Da Chick “Chick-A-Boom” (Pete Herbert Piano Dub) Dark Punk Hippies “Funky Universe” (Aimes Remix) Holm CPU “Fotspor” (Todd Terje Disco Dub) Dave Allison “Cocktail Blue” (Heion Remix) Psycho Radio vs LC Anderson “Bad Reputation” (Daniele Baldelli & MarcoDionigi Funkadiba) Das Komplex “Tonight, Good Night” Ryan R “Umqondo” Marvin & Guy “Dancity” (Eddie C Remix) Komodo “Magic Hour” (The Backwoods Oriental Dub) Dan Lissvik “D”
It’s been over two years since Talaboman’s ‘Sideral’ EP, a joint release out on Hivern Discs and Studio Barnhus. It was John Talabot and Axel Boman’s collaborative debut and marked a new sound for the pair, consisting of rich synth motifs and vivid, afro-infused drum programming.
The two electronic artists have been independently successful in their respective careers, responsible for some of the most well-received dance releases in recent years (including Talabot’s ‘fin’ LP and Boman’s ‘Family Vacation’ LP) . Featuring on labels such as Permanent Vacation, Young Turks and !K7, Barcelona-based Talabot has become known for his unique take on chugging house and electronica. Similarly, Boman’s refined his own dusky aesthetic via Pampa, Hypercolour and his own Studio Barnhus imprint.
Now, the pair come back together with an album’s worth of material in a release titled ‘The Night Land’. Due for release on [date], via R&S records, ‘The Night Land’ continues Talaboman’s head-first dive into the deeper reaches of their conjoined musical creativity.
Nothing’s really changed since their first release, apart from the fact that this time round they produced (in their own words) an “absurd amount of music”. Writing sessions spread out across studios in Barcelona, Stockholm, and Gothenburg have given space to nascent ideas, where the two have been able to mature their sound.
The music is patient and warm, but also broad and diverse. ‘Midnattssol’ opens with atmospheric tropical panoramas, coloured by rhythmic stick hits and bell chimes. ‘Safe Changes’ and ‘Brutal Chugga-Chugga’ are hazy slow burners that crawl at a nonchalant pace, while tracks like ‘Samsa’ and ‘The Ghosts Hood’ are contrastingly more immediate and assertive.
‘The Night Land’, as the title suggests, “is a journey inwards, an attempt to reach our subconscious and to document our dreams. We want to ignite hope and push imagination. Close your eyes and open your mind.” Even when many tracks involve the heavy use of synthesisers and distortion, Talaboman have been sure to keep things sounding organic and light.
There is no complicated message or hidden concept behind this release, it’s simply “two persons meeting and playing music, a catalan and a swede talking blip blop until we felt that we had something worth saying” – and perhaps unsurprisingly this impromptu style of working has resulted in an album that is rich and vivid, but also feels somehow pure and sincere.
The message is clear: “Love is all this world needs. Loosen up those tight fists and give your sisters and brothers a helping hand and dance your anger away.”
Tycho’s Epoch is the final album in the trilogy beginning with 2011’s Dive, then 2014’s Awake and culminating with the new album. This period between Dive and Epoch marks a significant maturation for Scott Hansen’s continually expanding project, one that has taken him from a solo performer and bedroom artist to fronting a live 4-piece band on large stages across the world.
Epoch hones the sonic aesthetic of Dive while drawing on the kinetic energy of Awake, it explores darker themes and new musical territory. Epoch was produced and recorded by Hansen predominantly in his home studio in Berkeley, California. The album was arranged alongside long time collaborator and partner in the project, Zac Brown. Brown contributed bass and guitar parts to the songwriting process while Rory O’Connor performed drums on the album. Hansen sees Epoch as a multi-dimensional artistic vision at the confluence of his graphic design work via ISO50 and music with Tycho. The graphic presentation of album artwork is as important as the music itself. The keystone is the central image of Epoch and the colors scheme red and black. This is a stark contrast to the almost rainbow palette of Awake.
When discussing the surprise element of this release Hansen said, “I’ve never been fond of the ‘hand in the album then wait 4 months for it to come out’ release schedule. I wanted to be more connected to the people consuming the music.” He continues, “There is a kind of visceral fulfillment you get from sharing something that you’ve just created with other people. We just finished mastering the album in late august so it will barely be a month old when people hear it. That’s a very satisfying feeling as an artist.“
01 19 – Taipei, TW – Legacy
01 21 – Singapore, SP – Laneway Festival
01 25 – Melbourne, AU – 170 Russell – SOLD OUT
01 26 – Brisbane, AU – Laneway Festival
01 28 – Melbourne, AU – Laneway Festival
01 30 – Auckland, NZ – Laneway Festival
02 02 – Sydney, AU – Metro Theatre
02 03 – Adelaide, AU – Laneway Festival
02 04 – Sydney, AU – Laneway Festival
02 05 – Fremantle, AU – Laneway Festival
02 14 – Budapest, HU – Akvarium Klub
02 15 – Prague, CZ – Meetfactory
02 16 – Warsaw, PL – Worldwide Festival at Niebo
02 18 – Copenhagen, DK – Pumpehuset – SOLD OUT
02 19 – Stockholm, SE – Kagelbanan – SOLD OUT
02 20 – Oslo, NO – Parkteatret – SOLD OUT
02 22 – Cologne, DE – Gloria Theatre
02 23 – Amsterdam, NL – Melkweg
02 24 – Paris, FR – La Gaite Lyrique – SOLD OUT
02 25 – Brussels, BE – Botanique – Orangerie – SOLD OUT
02 27 – London, UK – Electric Brixton
02 28 – London, UK – Electric Brixton – SOLD OUT
03 03 – Hamburg, DE – Uebel & Gefahrlich
03 05 – Leipzig, DE – UT Connewitz (rescheduled from 2/11)
03 06 – Vienna, AT – Flex (rescheduled from 2/12)
03 07 – Berlin, DE – Astra Kulturhaus (rescheduled from 2/10)
03 10 – New Orleans, LA – Buku Music + Art Project
04 15 – Indio, CA – Coachella
04 22 – Indio, CA – Coachella
05 03 – New York, NY – Brooklyn Steel
05 31 – Barcelona, ES – Primavera Sound
06 08 – Porto, PT – Primavera Sound
Can’t believe there’s a new Slowdive song…and it’s soo damn good.
After 22 years, Slowdive return with “Star Roving”, their first new material since 1995’s ‘Pygmalion’, which will be released via Dead Oceans, worldwide. The band has been hinting at new music for some time and now the band can finally satisfy the ears of their patient fans. Featuring Neil Halstead (vocals, guitar, keyboards), Christian Savill (guitar), Nick Chaplin (bass), Rachel Goswell (vocals) and Simon Scott (drums, electronics), “Star Roving” embodies the effortlessness for which Slowdive is known — as the song progresses, it expands and contracts in ways that feel infinite. Singer Neil Halstead says: “When the band decided to get back together in 2014 we really wanted to make new music. It’s taken us a whole load of shows and a few false starts to get to that point, but it’s with pride and a certain trepidation we unleash “Star Roving”. We really hope folks enjoy it, it’s part of a bunch of new tracks we’ve been working on and it feels as fun, and as relevant playing together now as it did when we first started”.
Slowdive’s debut album ‘Just For A Day’ was released in 1991 by Creation Records and was followed by the band’s now revered 1993 album ‘Souvlaki’ and 1995’s ‘Pygmalion’ before disbanding. In the 22 years of their virtual disappearance, compilation albums have been released and the core members of the group have gone on to join other musical endeavours. In 2014, the band announced that they’d reunited and more new music would follow. Faithful fans will herald “Star Roving” as a critically worthy return.
As musicians get through their agreements some hang their hats up, some move onto newer goals/hobbies in life and a few even start their own labels. Mauro Remiddi aka Porcelain Raft decide just that, he welcomed Volcanic Field in the middle of last year releasing a few cassettes. Having met Mauro and him not knowing i’m writing this, i’m happy to see him shed the label. Labels aren’t for everyone and with that we all receive an innocent body of work.
1. The Earth Before Us
2. Distant Shore
3. Big Sur
4. Rolling Over
7. The Greatest View
8. Bring Me To The River
9. Accelerating Curve
10. The Poets Were Right
11. Zero Frame Per Second
250 limited edition color vinyl
New album ‘Microclimate’ out 3rd Feb 2017 on Volcanic Field
Like last year lists this year are all over the place, a lot of main stream rap again, really solid techno and again VERY happy to see a lot less of the soft boy beat stuff that clogged up the festivals, which makes me overwhelmingly happy. Here’s a few musicians that most of you know but made my year very enjoyable because of a DJ set, live set, a diverse DJ Kicks or a keeping an alias alive and well, enjoy!
Terekke reworks Mariah Carey’s cover of I Want to Know What Love Is
“It feels sad to lose people, even if you might not have known them all personally, it’s still a very heavy feeling. DIY spaces have been so absolutely central to my life creatively, communally and spiritually that it hurts to the core to see friends lose their friends. It’s more than i can put into words.”
I usually write-off all the pitched vocal tracks that clog up the electronic scene BUT this is a unique take, especially the intro.
‘THROAT’ is the new album by composer/producer Aaron David Ross (ADR). Arriving as the New York artist’s second release on PAN, ‘THROAT’ is made entirely from vocal sounds. It could only be crafted in the ultra-present; an age where the poetry of songwriting is flattened into catchy hooks. As words are sliced into sounds, ideas are reduced to sibilant syllables that still contain a range of emotional power, but deliver it in subversively different ways.
‘THROAT’ exploits these ways, borrowing vocal fragments from everywhere to collage a choral congregation of singing servers; pinging one another to create open-source equal-opportunity electronic pop music. Reichian polyrhythms EDM drop into Bieber-esque beatboxing. Hypothetical K-pop stars conduct holographic choirs in altruistic ritual. Virtual summer festival DJs transcode into pure phonemes; anthropomorphizing formant-shifted vacuums of communication. When you drop the cargo of making sense, you can go so much faster.
As a classically trained musician inspired equally by pop and contemporary art & technology practices, ADR’s work has distinguished itself through its formal deliriousness and playful tenor. Besides ongoing collaborations with an international community of vocalists, producers, artists and fashion designers, Ross releases solo recordings, composes music for film, TV and advertising, and maintains a practice of live performance and sound installation.