Underworld emerge from the rabbit hole with ‘Appleshine’

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Underworld emerge from the rabbit hole with ‘Appleshine’TimBuiting ADE AO Underworld 2017 166425

Underworld have returned with a new song to continue their Drift series, launching its second installment with “Appleshine.” The duo—who with their formation in 1980 were one of the first to explore electronic music—haven’t lost any talent along their extensive journey, with this 10-minute opus standing as a reminder.

Industrial and technical elements in “Appleshine” together create an emotive movement of music. Paired with a partnering video, the new track is the first piece of episode two of Drift, whose six-piece first offering was released in 2018. Throughout this episode, viewers learn its backstory.

“On that journey, Karl and Rick stopped at a pig shed in Essex; Rockingham Speedway; a hotel room in Reykjavik; AIR studios and a series of tiny club shows in Amsterdam, Manchester and London. Each of those stop off points helped influence the creation of DRIFT Episode 1 & 2.”

Photo credit: Tim Buiting

ANNA puts the world of techno front and center in debut BBC Essential Mix

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ANNA puts the world of techno front and center in debut BBC Essential MixAnna Dallasobserver

ANNA has hit a huge milestone in her career. This week, the Brazilian-born, Barcelona-based techno artist has taken the reigns for the first time on BBC Radio 1 for an inaugural Essential Mix. She has put her unique knowledge of the global techno arena on display, incorporating the sounds of São Paolo, Berlin, and South Africa as well as her own music across the two-hour long mix. This accomplishment serves as another reminder that with ANNA on the decks, something new and transcendent is bound to be discovered. Of course, this includes her own remix of Jon Hopkins’ “Singularity,” but it only begins there. Other blistering records spun on the show include her atmospheric single “Hidden Beauties,” “Artha,” and her edit to Fairmont’s “Gazebo.”

Listen to ANNA’s Essential Mix here.

Movement shares first phase of 2019 lineup, topped by Chris Lake, Amelie Lens, and Orbital

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Movement shares first phase of 2019 lineup, topped by Chris Lake, Amelie Lens, and OrbitalMovement Detroit 1

House and techno titans will unite again atop Detroit’s riverfront Hart Plaza for another Memorial Day weekend segment of Movement Festival. So far, organizers have pulled back the curtain on only a small, yet lustrous, corner of their secured repertoire, including hot-button house authority, Chris Lake, the aptly named, old-school-meets-new-school Hot Since 82, Belgium’s fiercely flourishing techno temptress, Amelie Lens, and local-turned-global rap icon, Danny Brown, who satiates the fest’s longtime affinity for bolstering Detroit-native talent.

The festival, this year pegged for May 25-27 has long acted as a summertime commencement in Detroit–the techno promised land–as well as a harbinger of the annual electronic festival season at large. The 2019 installment will also include a live set from Orbital, who have been a pair of instrumental components in electronic music’s acclimation in both the UK and US fronts since the late ’80s. The upcoming edition will be the duo’s Movement debut, as well as their first live performance in Detroit in nearly two decades.

If last year’s expectation-eclipsing lineup, which included Claude VonStroke, Lee Burridge, Maceo Plex, REZZ, Dubfire, and a face-melting slew of multifarious talent, spanning house, techno, hip-hop, and experimental subsets across the electronic emblem, the ten thus-far-released acts are only a Costco-size sample of what’s to come.

Movement 2019 acts thus far include (in alphabetical order):

AMELIE LENS
CHRIS LAKE
DANNY BROWN
DJ BONE
DJ NOBU
FLOORPLAN – LIVE
HEIKO LAUX
HOT SINCE 82
ORBITAL- LIVE
STEPHAN BODZIN – LIVE

Drezo breaks radio silence with menacing remix of Gesaffelstein’s classic, ‘Aleph’

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Drezo breaks radio silence with menacing remix of Gesaffelstein’s classic, ‘Aleph’Goldrush Day1 JTD Highlights 017

Drezo has spent the past half decade carving out his own lane in the realm of bass-heavy, dark house music. With his spastic percussion and ominous vibe, the LA-based artist draws influences from new wave electronic music while tapping the rave sounds of the past. Now, he’s broken nearly a year of radio silence, taking on the title track of Gesaffelstein‘s seminal debut album, Aleph. Drezo flexes his production prowess with a hard-hitting remix for the French icon, reinventing the track just as Gesaffelstein’s resurgence is beginning.

Drezo begins the remix by playing up the eerie guitar found in Gesaffelstein’s original. As the track begins to build, a bass line eases in, before quickly jumping to prominence with a fierce break. Though his signature heavy low-end is present, this remix stands as a more minimal take on Drezo’s usual style in homage to Gesaffelstein’s characteristically stripped back aesthetic. With hollow synth stabs and a brooding energy, Drezo has put forth a remix fitting for the newly returned French techno luminary, alluding to his own comeback primed for 2019.

Five tracks guaranteed to amp attendees for Cirez D & Adam Beyer’s b2b performances this weekend

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Five tracks guaranteed to amp attendees for Cirez D & Adam Beyer’s b2b performances this weekendCirezDAdamBeyer 3 24 18 AJRphotos 086 0

Eric Prydz will have gone b2b to b2b…to b2b to b2b with Adam Beyer under his Cirez D alias by the end of the weekend, in a double-pronged series of performances of mythical proportions. Originally announced in August, Cirez D and Adam Beyer’s joint b2b bookings generated considerable buzz among fans of the electronic luminaries, and not without good reason. The duo’s seminal, sold out b2b appearance in March 2018 during Miami Music Week evidenced the pair’s kinetic energy behind the decks, and their unparalleled live presence led many longing for a follow up Cirez D& Beyer booking.

Listeners were in luck, as Cirez D and Adam Beyer announced not one, but four ensuing fall dates. Cirez D and Beyer brought their legendary b2b format to Los Angeles’ Hollywood Palladium on November 23 and 24, and will collectively make their way to a Brooklyn warehouse to play some proper techno from November 30-December 1. Dancing Astronaut has compiled a list of five tracks to set the mood for Cirez D & Adam Beyer’s highly anticipated East Coast arrival.

Adam Beyer – “Your Mind”

A techno oriented, retrospective review of the landmark releases of Beyer’s storied catalogue would be remiss not to mention fan favorite, “Your Mind.” The product of Beyer’s collaboration with Bart Skills, “Your Mind” is an extended, eight-minute effort that entrances with its looping vocal centerpiece, a spoken component that repeats the phrase “you’re losing your mind.” The hypnotizing track– interestingly enough, and perhaps much to listeners’ surprise–was never intended to gain a full-fledged release. The song was born as a tool mix that Beyer and Skills finished at a later date.

Cirez D – “BLACK HOLE”

Even in its acknowledgment of the rate at which, and breadth with which Prydz bestows new music upon his listeners, the title “prodigal producer” still doesn’t seem to be an adequate classifier of Prydz’s momentum. Prydz treated Pryda enthusiasts to a stimulating and meticulously constructed new EP in May 2018 by the name of Elements. The Swedish phenomenon then dropped of a three-track Cirez D EP, DARE U. Of the three heart-palpitation inducing inclusions to figure on the EP, the third and final track, BLACK HOLE, was perhaps the most exemplary of Cirez D’s dark, brooding approach to techno, and accordingly functions as an apt warm up track for Cirez D & Adam Beyer’s Brooklyn bookings.

Adam Beyer – “What You Need”

Tonally lighter than some of the moodier selections that comprise Beyer’s catalogue, “What You Need” is an airy, atmospheric reprieve from tenebrous techno. Pulsating synth work sets the track’s mid-tempo pace, while subtle, short pops of vocal accents lend a sense of variety to the near seven-minute song.

Cirez D – “BACKLASH”

Industrial melodics find full figuration in “BACKLASH.” A master at melding different sonic textures, Cirez D adds a gritty edge to the velvety underground quality of “BACKLASH” to play up sound contrasts. The effect is a general sense of surprise that follows each second of “BACKLASH,” the listener unable to predict the course that the song’s elements might take. Cirez D released “BACKLASH” in 2017, when he released the number alongside another track, “THE TOURNAMENT.”

Adam Beyer – “Stone Flower”

The Drumcode head illustrates the power of intricacy on “Stone Flower.” A tightly woven track that sources much of its potency from a titillating looping vocal two-minutes in, “Stone Flower” layers one constructional electronic embellishment atop another for depth. The result is a clean and refined production that has aged exceedingly well in the years that have followed its 2015 arrival.

Watch Gesaffelstein make his spectacular return with menacing new ‘Reset’ video

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Watch Gesaffelstein make his spectacular return with menacing new ‘Reset’ videoGesaffelstein Shadow

The time has finally come. 

The world has been watching him since the billboards arose in late October, but the wait has been far longer, and far more arduous for a majority of his fans. Indeed, this cryptic campaign began almost five years to the date since dance music’s most sinister figure proffered his debut album, Aleph. In the years since, he’s made only intermittent appearances in the lives of his devotees, releasing no music whatsoever apart from production credits for Kanye West and The Weeknd, the score to a French thriller film, and a sole collaboration with fellow French luminary Jean-Michel Jarre.

Since he famously retired the black marble altar at Coachella 2015, audiences have sought ceaselessly to fill the void that he left. In an attempt to do so, leagues of aspiring dance music necromancers have endeavored to mold themselves in his fashion; and, while the results of such missions are often pleasurable, they will always, inevitably, be but middling simulacra in the face of the original. Thankfully, now, with “Reset,” the abyss is no more.

“Reset” might be more than the presumed lead single of an impending new album from Gesaffelstein. The track comes with a video that seems to take aim at a certain polarizing rapper, and could perhaps be the beginning of a more pointed commentary from the principal of techno and hip-hop’s intersection.

At long last, Gesaffelstein has returned.

 

Dirty South shows his dark side on brooding ‘darko’ LP [Album Review]

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Dirty South shows his dark side on brooding ‘darko’ LP [Album Review]Dirty South Darko Album Review

Dirty South is a man of his word. He promised fans two albums before the year was out, and suddenly darko arrived right in the nick of time. Just a month after releasing the stunning XVthe cinematic house titan submitted yet another chapter to his long player history – and it’s unlike any project the producer has helmed to date.

For some, it may have made sense to release both fall albums as a double LP. Yet Dirty South’s decision to separate the two projects makes perfect sense when listening. Both are worlds apart in feeling, tone, and flow. XV was brilliantly bouncy, often bursting with waves of elation; darko, on the other hand, is something different with a more anxious mindset all its own. The mournful synth swells of “Temps” announce the project’s ethos immediately, and the feeling of unrest permeates throughout the rest of the journey. On “Cassetta,” the intro burns slowly before ascending chords spread the tension on thick. “Piksi” follows directly behind, which is shaping up to be one of the darkest tracks in Dirty South’s repertoire.

Despite the unity of darko‘s world, trademark Dirty South touches abound. While the beaming brightness of past hits like “If It All Stops” is nowhere to be found, the “Kino” shuffles and grooves as undeniably as any of the artist’s dance floor weapons. “Lava” is a rhythmic tour-de-force, despite snarling horn-like synth blasts tethering it firmly into the album’s aesthetic. But despite Dirty South’s mastery of vocal-infused efforts show in past releases on labels like Anjunabeats, darko remains starkly instrumental. The move feels calculated as the arrangements ebb and flow freely, leaving the listener to wonder if any lyrics could speak single-handedly for the soul of the record.

The producer admitting the record is his favorite to date could indicate this new sonic direction — also showcased in songs like his recent remix of Lane 8’s “No Captain” — is settling in to stay awhile. The relentless cohesion of darko is something Dirty South had yet to do at this level. As “Corda” looms into sight to cap off the album, it sets the mind on fire. There’s a sense that the gravity of the sum of its parts has seeped in, and the effect after listening to the LP’s entirety is vivid. It’s gripped in an atmosphere of anxious and electric yearning, soundtracking a feeling of introspection and raw hunger. Beautiful but stark, dark but restrained, mournful but energized; whether or not these tracks invade the same playlists and dance floors Dirty South has presided over all these years is irrelevant. For a statement as nuanced and unified as darko is a triumphant highlight in and of itself.

Premiere: Sian soundtracks dystopia on relentless new track, ‘Breathe’

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Premiere: Sian soundtracks dystopia on relentless new track, ‘Breathe’Sian Breathe Premiere Single

As the commander-in-techno of genre guardian Octopus Recordings, Sian has been busy helping a fresh crop of up-and-comers like Shelley Johannson and Hidden Empire tear down clubs and warehouses across the world . In case any in the underground needed their memories jogged, the legend continues his recent release streak with ‘Breathe”–a lethal reminder of his studio prowess.

In true Sian fashion, the track is a relentless exercise in aural hypnotism, riding a pounding kick and warehouse-ready percussion as the song title is chanted rhythmically in the background. As the breakdown approaches, inhalations and exhalations mirror the listener’s brief, anticipated break from the mayhem–but a piercing arp keeps the energy twisting and turning long after the drums subside. The second beat section layers the hissing analog top line over Sian’s full dose of bass, creating a unique mid-track crescendo that’s sure to demolish unsuspecting crowds. Sian’s latest is equal parts raw power and mind-warping experiment, and projects to be mainstay for savvy techno selectors as the year draws to a close.

i_o tempts listeners with a dance in ‘Low’ places on new two-track EP

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i_o tempts listeners with a dance in ‘Low’ places on new two-track EPVhs I O E1542405102991

From the smoldering crevices of a mau5trap backroom, i_o is feverishly taunting listeners to get “Low.”

Hot out of the oven of his new two-track Low EP, i_o uses the lead track–which avid fans will recognize from mau5trap’s mix series (Ep 6) where it was teased earlier this year–to continue his maniacal spiral into the deepest throes of torrential techno. As the bass line throbs like its hooked up to an EKG, a decadent female vocal cut declares: “I don’t wanna get high / I wanna get low.” The LA producer’s intentions for the Low EP become clear with the second track, titled “Move,” solidifying the devilishly dancey motif with its skittering hi-hats and abundant low-end bass–topped off by another hypnotic, looping vocal, of course.

When he’s not on Twitter faux-beefing with his like-minded producer pal, No Mana, he’s relentlessly churning out gritty, pulsating dance music as a mainstay on mau5trap, in spite of i_o-scorning “techno purists,” who helped spawn his pervasive recent single, “Not Techno.”

Door to iconic Berlin techno club Tresor set to be immortalized in new museum

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Door to iconic Berlin techno club Tresor set to be immortalized in new museumTresor Berlin Techno Club Door Museum

The iron door to Berlin’s techno club Tresor is being immortalized as an exhibit piece demonstrating Germany’s history and culture. The exhibit, which is part of Berlin’s new museum called The Humboldt Forum, will first welcome viewers late next year. That the entrance to Tresor will join pieces and artifacts dating back to the Roman empire only solidifies the place techno holds in the country’s consciousness.

Tresor first opened in 1991 in the vault of an abandoned department store (Tresor means “safe” in German), and immediately became a stronghold of hard, industrial, and acid techno. After closing in 2005, the club reopened in 2007 in a renovated power plant and is still pumping out some of the city’s best sets. The Humboldt Forum museum is fully aware of the artifact’s significance, saying in a statement: “The door reminds us of the pulsating party culture of the 1990s and symbolizes the city’s free spaces, which gave birth to a lively cultural scene. This object truly reflects Berlin’s eventful history.”