DJ Hell is not above a good bit of irony, as he will be taking over Melbourne’s iconic St. Paul’s Cathedral for a techno set on November 18th. The show has been dubbed “The DJ Hell Cathedral,” and will be one of the focal points of Melbourne Music Week, which is set to take place from November 17–25.
The Berlin-based DJ will be accompanied by Australian locals Honeysmack, Acid Safari, Sundelin, and DJ Kiti. Melbourne Music Week is known for taking over unconventional locations around the city for its raves, and St. Paul’s Cathedral certainly fits the bill.
While a church isn’t the first place one would think to host a rave, technically speaking, a church’s architecture is conducive to an epic sound system for rave attendees. More information about Melbourne Music Week can be found here, and tickets to DJ Hell’s Cathedral available here.
DJ Snake just might have started a trend amongst DJs, as Danish house and techno producer Kölsch is the latest electronic artist to perform atop a Parisian landmark. Rather than performing on the Arc de Triomphe, as DJ Snake did early in September, Kölsch took his music to new heights with a set on the Eiffel Tower.
Fresh off the release of his eerily evocative, autobiographical album 1989, the artist delved into his brand new and incredibly spectacular emotive tunes only to be rightfully met with a stunning sunset. The view of the city was streamed live courtesy of Cercle, a platform that curates magnificent sets in peculiar places.
The legendary performance also kicks off Kölsch’s tour. If this show serves as any indication, it’s one not to be missed. Kölsch Tour Dates:
Oct 20 Awakenings ADE, Amsterdam, Netherlands Oct 21 ADE Audio Obscura x Spectrum, Amsterdam, Netherlands Oct 27 Miami, USA Heart Oct 28 Montreal, Canada La Bacchanale Oct 31 San Francisco, USA Audio Nov 3 Cordoba, Argentina BNP Club Nov 4 Valinhos, S.P, Brasil Laroc – Sunset Club Nov 5 Buenos Aires, Argentina Oasis Nov 9 London, UK Fabric (Live Show) Nov 10 Paris, France Faust Nov 11 Berlin, Germany Panoramabar Nov 16 Dublin, Ireland District 8 Nov 17 Cologne, Germany Gewölbe Nov 18 Hasselt, Belgium Labyrinth Nov 24 Milan, Italy Volt Nov 26 Glasgow, UK Sub Club Dec 8 Melbourne, Australia Forum Theatre (Live show) Dec 9 Sydney, Australia Greenwood (Live show) Dec 15 New York, USA TBA Dec 16 Los Angeles, USA Sound
Now in it’s 21st year, the mystique surrounding Burning Man and its ability to draw in the biggest names in electronic music have shown now signs of abating. This year was no exception, with contributions from Diplo, Skrillex, and a Burning Man favorite — Tycho’s sunrise set.
One particular guest to Black Rock City that has until now remained rather elusive has been the legendary Carl Cox. Thanks to the folks at The Radio Department, fans of tech-house can now hear Carl Cox’s first-ever guest mix (beginning at the 58 minute mark) on John Digweed‘s radio show, Transitions.
Recorded live from deep within the playa this past September, expect to hear a carefully curated mix of techno and progressive DJs who are pioneering their respective genres, including Dance Spirit, Satori, Markus Homm, Connan Mockasin, Tiefschwarz & Yawk, and more.
Berlin based and Berlin bound techno enthusiasts alike ought to be uttering a resounding “techyes!”
Further cementing Berlin’s reputation as the “techno capital of the world” is the city’s announcement of a new nightclub exclusively dedicated to the genre. Dubbed “OST,” the 600-capacity techno hub is slated to open for its inaugural evening of production on Saturday, November 4. While OST has yet to release a list of artists set to appear over the coming months, John Osborn, Vakula, LA-4A, an Jennifer Touch will take the decks to deliver the club’s first performances on November 4.
Appropriately situated on the eastern edge of Friedrichshain, OST derives its name from the German word for “east.” Those interested in attending OST’s launch party can visit the venue’s Facebook page here for event updates.
Over the past two decades, dance music pioneer Paul Kalkbrenner has become one of electronic music’s bonafide superstars, filling arenas with his live shows and headlining major festival’s worldwide On Friday, November 3rd, the Berlin-based producer will venture to Los Angeles to deliver a singular journey through the history of techno.
The live show, titled “Back to the Future,” underscores a previous three-volume project in which Kalkbrenner personally curated over 5000 underground works in Berlin between 1987 and 1993. The compilation was meant to channel the freedom and abandon felt in the warehouses of East Berlin during this seminal period.
By proxy, Kalkbrenner’s US debut will showcase the evolution of techno and rave culture throughout the late 80s and early 90s. “Back to the Future” marks a rare chance to witness one of electronic music’s true pioneers in an intimate setting, and become exposed to the music that shaped not only Berlin’s club culture, but the global techno landscape.
Kevin Saunderson & KiNK have created a groover of a track in “Idyllic.” They embody the true essence of techno, a genre which Saunderson helped pioneer, in their record by way of scintillating keyboard stabs and rhythmic layers of percussion. Completed with soulful elements that heighten its danceability, the track becomes yet another timeless gem for both acts’ repertoires.
“Idyllic” is the opening track to the celebratory EP for Saunderson’s label KMS Records, which has crossed the three decade line. The EP encapsulates all the sounds of techno across its three records, the other two being contributed by Dubfire and Marc Houle.
Kevin Saunderson, a veritable forefather of the techno genre, is celebrating three decades of his label KMS Records and his career in general. The Detroit native assembled his colleagues Dubfire, Marc Houle , and KiNK to lend their talents to the special edition celebration EP, creating a well-rounded list of pieces that define the genre they were made under.
Dubfire’s contribution shows off his brilliant skill at sound design, painting a menacing mental picture with cunning bursts of synth and pungent kicks. “Bottom Dweller” steps aside from the veteran’s usual minimal style, showcasing his equally top ability in forging atmospheric pieces made for open air settings. The piece has been rinsed with success thus far, and will likely continue to be throughout the fall season.
Jeremy Olander is one who manifests success for himself by sticking staunchly to his guns. Carefully biding his time after breaking out through Pryda Friends, the Swedish phenomenon grew into his true artistic self through a series of carefully-selected releases and through the foundation of his own imprint Vivrant in 2015.
His moves and undying passion have thus far brought nothing but success, with freedom to release as he pleases and nurture the next generation of progressively-inclined talent, and access to the top of the music industry with accomplishments like his own night at ADE’s 2017 iteration and also a residency at Sound Nightclub that will be wrapping up in December.
The blissful horizon that is 2017’s conclusion officially kicks off with the release of Gattaca, a four-track EP carefully compiled by Olander as the milestone tenth release on Vivrant. Gattaca opens with an impressive title track, which possesses a refined nature that is conveyed through gentle synth work and percussion. Its melancholic, yet hopeful atmosphere is one that Jeremy is expert at creating, and will easily lead to many hands in the air when rinsed on the dance-floor.
“Gaansvort” is even more poignant than “Gattaca,” raising goosebumps with a moving, almost trance-y progression and a soaring breakdown. Nine minutes seem to fly by as the body is quickly entangled in the piece’s intriguing layers and gripping notes.
“Galheera,” which closes Gattaca, is a veritable gem of the EP. Originally dubbed “Bahrein ID 02” by fans, “Galheera” is the type of production that pierces the heart with striking melodies and sweeping background notes that amplify the already heavily bittersweet effect. It serves as a catalyst to introspection and getting in touch with one’s emotional side, transforming dance-floors into deeply bonded communities.
Music made with the heart had a profound effect on the listener, and Olander’s deep process of writing songs translates into an infectious energy that captures hearts and leads to a committed fanbase of Vivrant soldiers. Luckily, the coming months will be bringing his gleeful spirit to many corners of the globe, including a Vivrant showcase at ADE, his final residency stop at Sound nightclub in Hollywood, and various stops across the United States.
Pressing “play” on a Rinzen production can be equated to stepping into a different universe. From the first hit of percussion to the closing note, the LA-based artist effortlessly lures listeners into his domain and traps them there with distinctively brooding, cinematic soundscapes.
Creative to his core, Rinzen’s purpose as an artist is to venture beyond the realm of dance music. “From an early stage of the project, I realized I wanted to create entire worlds with my tracks. Almost like building a landscape or environment and then telling a story within it,” he explains. Furthermore, his overarching vision involves creating these worlds with a mélange of mediums combined into a single plane.
“I think there are enough artists making purely club music out there — and there’s nothing wrong with that. I see Rinzen as my opportunity to try and make something different: to integrate all my interests such as writing, poetry, film, and music into one creative pursuit.”
Forbidden City marks the first step toward manifesting his artistic purpose. Landing on Mau5trap, the trilogy tells a hero’s tale discovering a secret temple and facing multiple trials within, “the conquering of which leads to a new sense of self-knowledge.”
It begins with its title track, which courses through beds of dramatic, sweeping orchestral elements and a distinctive bass-line. A sense of longing takes over the beginning, before the track picks up pace to become bolder and adventurous in nature. Indeed, it is entrance to the “Forbidden City.”
“The title track best exemplifies the overall tone of the EP. It hints at feelings of awe and reverence, yet also features more ominous undertones.”
“Belly of the Beast” brings forth the next chapter of the saga, where the listener, or protagonist, faces their true test. Tension fills the air as roaring synthesizers belt out a menacing melody that is pierced by flutters of keyboard and crisp high hats. If there’s one thing Rinzen does well, it’s certainly conveying a message by clever sonic manipulation.
Finally, Forbidden City closes with the powerful “Triumph of the Human Spirit.” The “beast” has been conquered, and victory is communicated by way of pungent kicks and a soaring breakdown. Yet, a sense of darkness lingers within the piece’s confines, signifying with stark cello accents that the protagonist will never forget what they overcame.
“Triumph of the Human Spirit” was interestingly enough a triumph for Rinzen himself. He explains how it was the toughest track he had to wrangle with on the EP, and that “it took a marathon 50-hour struggle (over the course of a few days) to complete it.” The finished product ties Forbidden City up in a tidy fashion.
“I’m hugely inspired by Joseph Campbell’s ‘Hero’s Journey,’ which is basically the concept that there is one singular narrative which all our stories and myths are telling. I wanted the tracks, and the track order, to follow this framework.”
Despite the closure of one chapter, however, this is merely the beginning of Rinzen’s story. “If all goes according to plan, he says, “these worlds that I’m creating will just get bigger and bigger. Eventually, I plan to bring these worlds on tour and accompany them with film.”
May his own hero’s journey bring success and enlightenment.
Photo credit: Michael Drummond
If we’re not mistaken, Rinzen means “sudden awakening.” What are some awakenings you’ve gone through as an artist? From an early stage of the project, I realized I wanted to create entire worlds with my tracks. Almost like building a landscape or environment and then telling a story within it.
I think there are enough artists making purely club music out there — and there’s nothing wrong with that. I see Rinzen as my opportunity to try and make something different: to integrate all my interests such as writing, poetry, film, and music into one creative pursuit.
Give us the background story/inspiration behind each song on your Forbidden City EP. Also, get into why you grouped these songs in the way that you did. Is there an overarching story you’re looking to communicate? “Belly of the Beast” was the first song I ever wrote on my Moog. I finished it right after travelling in Japan, with the beautiful, mystic scenery of Kyoto fresh in my mind.
“Forbidden City,” the title track, best exemplifies the overall tone of the EP. It hints at feelings of awe and reverence, yet also features more ominous undertones.
I wanted a big climactic finish to the EP, and thus “Triumph of the Human Spirit” came about. It was the hardest track to finish. It took a marathon 50-hour struggle (over the course of a few days) to complete it.
I’m hugely inspired by Joseph Campbell’s ‘Hero’s Journey,’ which is basically the concept that there is one singular narrative which all our stories and myths are telling. I wanted the tracks, and the track order, to follow this framework. It’s the idea of being pulled out of your ordinary reality into the unknown and facing a series of trials — the conquering of which leads to a new sense of self-knowledge.
How do you go about choosing names for songs? I’m very specific about song names, and try to attach them to a concept portrayed by the track. Most of my track names come about from concepts I’ve read about in either fiction or philosophy texts.
You used heavy orchestral elements to help convey emotions in your EP. What draws you to such classical sounds in particular? There’s something really timeless and enduring about classical music. I find myself listening to it more and more these days. I wanted to incorporate a bit of that influence into the EP. I see it as something that will only become more prominent in my music throughout the years.
Any last thoughts/things you want to say about this EP? Ultimately, the EP is just the first step in my vision. If all goes according to plan, these worlds that I’m creating will just get bigger and bigger. Eventually, I plan to bring these worlds on tour and accompany them with film. Forbidden City is only the beginning.
Chloé is not one to subject to ubiquitous trends on the electronic market. The classically-trained guitarist and veteran dance music composer is continually searching for depth in both what she consumes and what she creates; this quality mixed with innate talent has carried her career for over two decades.
She is nowhere near reaching stalemate, however, despite her long years as an industry figurehead. In fact, the French songstress is helping break new ground by openly embracing new technologies and sounds that others might feel hesitant to work out. Her knack for innovation gives her music a distinctive edge that has led to a great international demand for her presence.
October 27 will bring about a new milestone: her third artist album, which will be released through her own Lumière Noire imprint. Having taken great time and care to create it, Endless Revisions promises an immersive auditory experience that explores various soundscapes and genres through a cohesive development.
Prior to releasing her album, however, Chloé provides Dancing Astronaut with an exclusive mix showing where she’s currently at musically. She presents an intriguing mélange of psychedelia and deep grooves laced with dissonant vocal samples and eclectic electro elements — all within the span of an hour. As a whole, the mix feels like a a futuristic, otherworldly journey where listeners are opened to her true self.