Detroit Sound Conservancy launches Kickstarter to reconstruct iconic Detroit sound system

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Detroit Sound Conservancy launches Kickstarter to reconstruct iconic Detroit sound systemClub Heaven Sound System

“Detroit’s sonic story is not over,” and the Detroit Sound Conservancy (DSC) will see to the longevity of that “sonic story” via the restoration of one of Detroit’s most iconic techno sound systems, that of the now closed Club Heaven.

A non-profit group that supports Detroit’s “sonic heritage through outreach, preservation, education, storytelling, curation, and innovation,” the DSC looks to not only recover, but preserve Club Heaven’s sound system via a newly launched Kickstarter campaign that will fund the system’s renovation.

Seminal artists in Detroit’s techno movement, Derrick May and Kevin Saunderson gifted the sound system to the DSC in 2017. The system previously occupied a Detroit basement for approximately 20 years before May and Saunderson transferred ownership of the sound system to the DSC. Now,  the group aims to rebuild the system via “electronic archaeology,” which entails replacement of the system’s cables, drivers, amplifiers, horns, and speaker cabinets.

“Since our founding in 2012, Detroit Sound Conservancy has preserved and celebrated Detroit music history from below,” the DSC said. “This means we spend our time telling stories that have rarely been heard outside of our own neighborhoods and local communities and have yet to be included in standard depictions of Detroit’s musical history. This includes stories of Detroit’s queer dance ecosystem from the late 1960s to the present day in which Club Heaven is a key moment.”

A prominent nightclub that doubled as a “safe space” for the queer population in its hey day, Club Heaven served as a sonic sanctuary for black LGBTQ youth, while simultaneously offering an outlet to DJs, club promoters, dancers, and other frequenters of the Detroit club circuit.

Donate to the Kickstarter, here.

Photo Credit: Mixmag

H/T: Mixmag

Claude VonStroke delivers his Movement set turned album, ‘Live In Detroit’

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Claude VonStroke delivers his Movement set turned album, ‘Live In Detroit’Claude Vonstroke Live From Detroit 1

Dirtybird don and Detroit native Claude VonStroke announced that he would release his headlining set as a live album after playing Movement Music Festival over Memorial Day weekend. Originally released on Apple Music, the set is now active on all streaming services and titled, Live In Detroit.

Jam-packed with VIP edits and deep cuts, VonStroke went all out, bringing the fans in his hometown some of the weekend’s most dynamic house and techno. From originals like “Grenade,” his industrial collaboration with EPROM and his previously unreleased, “Maharaja” to Wyatt Marshall’s techno remix of the classic “Who’s Afraid of Detroit,” Claude VonStroke has put together 85 minutes of the grooviest dance-floor tunes. With the album consisting of the DJs continuous mix along with 13 individual, unmixed tracks, the Dirtybird boss has blessed us all with this massive offering of house and techno bliss.

DA’s Movement 2018 soundtrack: 10 tracks that rocked the festival

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Movement

1) Andrés – New For U (Live)

From DJing with Slum Village back in the day, to playing congas, to rocking the MPC and making some of the most soulful house around, Dez Andrés is one of the finest that Detroit has to offer. Andrés had a jam-packed Movement weekend filled with afterparty appearances, contributions to Shigeto‘s set, and even his own set at the Stargate stage with a live band featuring a who’s who of musicians such as the likes of Ian Fink (Scott Grooves’ keyboard player). His timeless classic “New For U” sounded so fresh with live instrumentation as it wafted over Hart Plaza.

2) Psychedelic Research Lab – Keep On Climbing

Eris Drew was one of the most anticipated performances of the weekend and she definitely delivered on the hype. Playing a moody, tension-filled set at RA’s Underground Stage before Helena Hauff, the smartbar affiliate ripped through her wax-filled set with poise and passion. Building deep grooves and maintaining the crowd’s attention, this classic rave track from Scott Richmond and John Selway, together as Pyschedelic Research Lab, was a highlight, sounding fresh as ever. Perfect timing to drop the track too, as Kim Ann Foxman’s Firehouse label is re-releasing it with a set of remixes from Deetron and herself.

3) Floorplan – Let The Church

Whenever Carl Craig takes the stage at Movement, it’s must-see entertainment. The Planet E don commands a crowd so well, especially in Detroit, and started off his set on the mic preaching Detroit Love. As his set progressed into thicker and more energetic cuts, this one from fellow Detroit-er Robert Hood and his daughter under their Floorplan moniker made a huge impact on the crowd. Hammerings drums gave way to a tweaked-up gospel vocal for pure techno madness and a big reaction.

4) Paul Nazca – Memory

Laurent Garnier hardly ever makes an appearance stateside, which made the legend’s Sunday closing slot at Movement extra special. As his two-hour set reached its peak, he dropped a monstrous record which he and Sven Väth have supported heavily throughout the past couple years: “Memory,” by Paul Nazca. The song’s classic edge and cunning central hook whipped the audience into a frenzy with each post-break, and felt like the perfect selection for the moment.

5) Jeff Mills –  The Bells

One simply cannot do Movement, or celebrate Detroit techno in general, without the ever-iconic Jeff Mills single, “The Bells.” Its synth stabs and clanging melody that embedded itself deep into electronica’s psyche so many years ago could be heard throughout several sets during the festival — from the Underground to the Stargate stage — and each play sparked joyous looks of recognition and subsequent madness. It’s pure, raw techno that defines the genre itself, which is why the single remains fresh and widely rinsed today. To top off the festivities, techno founding father Juan Atkins also paid homage to his colleague by kicking his set into high gear with the classic.

6) Prince – Head (Hazmat Live cover)

Taking place at Detroit’s fabled TV Lounge, Soul Clap‘s annual House of Efunk party is really a can’t miss — the lineup is always packed with a diverse set of heavy hitters, the vibe is so fun and jovial, and the curation of set times between the outside patio, side alley, and indoor club is just perfect. When the magic hour came and the sun started to rise, Detroit’s own Hazmat Live took the reins with a seriously impressive live house set, filled with drum machines, samplers, analog keyboards and vocoder talk box vocals. The diversity in his live set was fantastic, as he peppered in his own take on classics such as The O’Jays “I Love Music” and Prince’s “I Wanna Be Your Lover”. Keeping the purple theme going, his dubbed out version of “Head” was blissful at whatever morning hour it was (we forget, ha).

7) Aretha Franklin – Never Grow Old

The newly re-positioned Pyramid Stage was a highlight for many during Movement weekend, and with due reason. Looking out on the Detroit River and Windsor, Ontario, the Pyramid Stage was not only arguably the most scenic of the stages, but also packed a serious punch with it’s lineup. Radio Slave was a name we were super excited for, and he delivered a diverse heavy-hitting and funky set that got the final day festers pumping and moving. Dropping unexpected bombs such as Frankie Goes To Hollywood’s Relax, Radio Slave also paid a cheeky homage to Detroit’s Robert Hood, breaking down his set to go into the velvet-y vocals of Aretha Franklin’s “Never Grow Old” which Hood famously sampled on his techno version of the track with the same name. The angelic vocals were uplifting right when the crowd needed them, and then was followed up with Hood’s banger “Baby, Baby”, a perfect tip of the cap to one of Detroit’s legends.

8) Wu-Tang Clan – C.R.E.A.M

Wu-Tang Clan were one of the most sought-after, and unifying forces of Movement; no matter one’s musical preference, attendees flooded the main stage en masse for this legendary reunion. They celebrated their 25th birthday as a group at the festival as well, to add to the fervor. Naturally, they couldn’t go without performing some of their most well-known classics to their packed and adoring crowd. “C.R.E.A.M” was one such single that they pulled out of their archives, which proceeded to be met with supreme hype from viewers.

9) Regal – L’Éternité (Charlotte de Witte Remix)

Many are in agreement that Charlotte de Witte destroyed the Underground stage during her sub-closing set on Monday. In addition to earth-shaking techno she unearthed for the affair, the rising Belgian talent also threw in a few of her favored productions as well. One of these was her sultry remix to Regal’s “L’Éternité,” which was strategically placed within her mix to up the momentum. The original’s French vocals captivated the sweaty onlookers, while thunderous kicks anchored feet to the ground.

10) Maceo Plex & Maars – Mutant DX

Maceo Plex and his wife Christine Maars of the Odd Parents are electronic royalty, and thus a collaboration between the two is bound to be brilliant. Their recently-premiered “Mutant DX” shows off all their chemistry as producers and as lifetime collaborators, and serves as a nice, grooving tune that’s raunchy enough to rock a festival dancefloor as hard as a club. When Maceo played it during his set closing the Pyramid stage on Day 1, madness ensued as gazes remained transfixed on the hollow synth pangs flowing out of the speakers.

Demonstrators used techno to drown out far-right rallies in Berlin

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The power of techno may have been used for its greatest good yet, as recent rallies in Berlin found far-right protestors thwarted by club beats as they marched through the capital. The self-proclaimed anti-immigrant, anti-Islam political party Alternative for Germany won its first seats in parliament last year, and the recent march marks the first public show of strength by the far-right group since it became the largest opposition to Chancellor Angela Merkel. Luckily AfD was met by the resistance of thousands of counter-protestors including a union of different advocacy groups, civil and student organizations, as well as political parties, lead by an alliance of over 100 clubs from across Berlin.

Packing the River Spree with boats and floats as well as a caravan of DJ-equipped trucks in the streets, Berlin’s legendary club circuit came together to “bass away” the far-right, drowning out “we are the people” calls with proper warehouse fare and “the whole of Berlin is against the AfD” chants. Counter-demonstrators waved rainbow flags, touting signs with messages like, “no to racism” and “No dance floors of Nazis.” A joint statement from the coalition of clubs reads,

“The Berlin club culture is everything that Nazis are not. We are progressive, queer, feminist, anti-racist, inclusive, colorful and we have unicorns.”

Thousands of counter-protestors reportedly joined in the action and police were deployed to keep the demonstrations peaceful. Berlin reportedly deployed 2,000 officers and eventually closed bridges across the city to section off protests throughout the weekend. Don’t make us deploy the unicorns, Nazis. We won’t hesitate to use them.

Featured Image: DPA

Beatport unveils new product roadmap and annual genre rankings, techno reigns supreme

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Beatport has introduced a new product roadmap as a part of their continued “commitment to developing independent music and labels” at Ibiza‘s annual International Music Summit.

Hype Charts, Beatport’s most outright effort to support rising labels, will arrive in early-June.

“With so many incredible releases added to Beatport each week, there’s a lot of competition for the attention of our DJ customers,” said Beatport’s Chief Product Officer Terry Weerasinghe.

Hype Charts will ensure that smaller labels get “greater visibility” by shining light on up-and-coming imprints, releases, and artists. Adding the Hype Charts also makes it easier for DJs to identify unique, up-and-coming releases worldwide. Considering that 96 percent of Beatport’s music sales are comprised of independent music, with nearly 25,000 new releases each week, Hype Chart’s an immensely commendable commitment in so far as supporting the independents.

In addition to the new rollout, Beatport also released their annual genre rankings, aka the platform’s top-selling genres. Techno has reigned supreme, with tech house, house music, deep house, drum ‘n’ bass, electronica, melodic house and techno, trance, progressive house, and indie dance falling behind accordingly.

Considering that Beatport’s track sale revenue also grew by seven percent this year, the future of the platform looks immensely promising. Their IMS presentation also divulged into their future plans to launch a DJ discount subscription service as well as new streaming capabilities for DJ software.

Having recently acquired the former DJ streaming service, Pulselocker, there has been considerable wonder surrounding just how Beatport would be expanding the service. Beatport saw the 2018 IMS Business Report as an opportunity to confirm that its entire catalog will be streamable as DJ software by 2019, which means an enormous shift of the DJing game is imminent.

Revisit Resident Advisor’s 2011 ‘Real Scenes: Detroit’ film ahead of Movement

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Via: Resident Advisor

Navigating the technosphere with Ø [Phase]: a pre-Movement discussion

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An enigmatic persona exists deep within the techno rabbit hole. Using the moniker Ø [Phase] (né Ashley Burchett), the stalwart DJ and producer has made his mark on things dark, atmospheric, and downright technical. His productions are as hypnotic and diverse as his sets, covering a mélange of stylings that range from subdued and almost tribal, to acidic, to deep, to sinister and driving. He refuses to be boxed into any one category, which is why he’s remained firmly at the cutting edge of his arena.

Ashley’s expertise has been cultivated over quite an extended period of time; over two decades, to be exact. As a mastering professional and a budding musician inspired by the new, innovative sounds imported from Detroit, he soon found his way onto Steve Bicknell’s Cosmic Records imprint before moving onto his primary home label of Token. Techno, with its wide range and malleable structure, was particularly appealing to his sound engineer’s ear, and he has certainly taken this notion in stride with his production MO.

The word “techno” stretches beyond a mere genre, however. It’s built to be paired with the right setting, atmosphere, and mindset. Nuances within it demand appreciating subtle musical details, and an environment that allows for full focus on these aspects.

Who better to dive into the nitty gritty of techno than Ø [Phase]? Given his imminent arrival to Los Angeles, and later, to Detroit’s iconic Movement Festival (where he will be making his debut), we nabbed him for a chat on the sound and the scene. Additionally, Ashley shares his excitement for Movement, and offers a little taste of what to expect from his set at the Underground stage.


How do you think your career would develop/be if you started out today rather than two decades ago? Do you agree with people saying it was ‘easier’ then to ‘make it?’
No I don’t think it was necessarily easier, it was just a lot different. Changes in technology have altered things beyond measure for good and bad. On the one hand you have social media and the internet which make it so much easier to reach and connect with potential fans, while on the other the ability to make electronic music has become much much cheaper and easier. This means there’s a far wider pool of competition for new artists. I still believe despite all that that if a piece of music genuinely is great it will find its audience eventually.

Who are your favorite artists at the moment, or ones that you’re finding particularly cutting-edge?
Well, if we just stay within the bounds of straight techno; I’ve been listening to Randomer in a lot of detail recently. Blawan’s approach to production and dynamics and his general originality – to me – stands way out in front. Actually Jamie was kind enough to send me his forthcoming album ahead of time. It really is superb. Stanislav Tolkachev is also a long standing favourite.

What place would you say has the most underrated scene? We hear so much about Germany/Spain/Argentina etc, but we want to hear more about places like Lebanon/Georgia/Croatia.
Techno in Georgia is thriving yes (in fact its thriving a little TOO much according to ‘certain factions’ as we’ve recently seen) and has gained a lot of international attention for it so I’m not sure I would class it as underrated. To be honest, these days I find it hard to pinpoint specific cities or places because it feels as if the scene is constantly connected through the internet. It’s almost as if manifests itself when the conditions are right and certain clubs and promotors have nailed the setting and presentation – Kompass in Ghent is a good example. Drugstore in Belgrade another.

Space/setting as important as music itself – how do you go about choosing places to play through the year? Do you turn down gigs, or do promoters approach you that you’d generally work with in the first place?
I work closely with my agent regarding the shows we do and don’t take. It’s a mixture; there are some clubs and promoters we have worked with on multiple occasions – sometimes going back many years – but always new opportunities to be discussed and considered. There’s no set pattern.

What are the details, exactly, of a perfect techno party, and how can we find that in the States?
I touched on it above and have said it before; to me this kind of music requires good sound, low lighting and minimum distractions. Over the top lighting just doesn’t work as far as I’m concerned. It’s should be an immersive experience.

I’m still discovering the US so can only really speak for the places I’ve played so far. Obscure in Chicago was a great underground vibe. The Synthetik Minds/Compound guys in LA have a perfect attitude and approach to what they’re doing. Output club in New York is very cool too.

Do you have a specific starting point when making a track? Ex: making a perfect low-end before adding samples and synths.
No, I’ve always worked in a completely unstructured fashion.

You’ve said in the past that the influx of new music is a blessing and a curse. what is your MO for finding the good stuff?
I wish I had one! I currently have around 1000 unopened promos in my mailbox because I simply can’t keep up with the release rate.

Finding good stuff is always a challenge. Ultimately it just takes time and the gathering of knowledge.

What are the sonic elements that make a song click for you?
It’s difficult to say. It might be an arrangement it, might be the baseline, the hook. It might just be wildly original. It might be dynamically perfect or dynamically inventive… Maybe all of these elements together and you’re close to a hit.

Name a piece of music people wouldn’t expect you to be keen on.
Bert Jansch – The Waggoner’s Lad

You’re about to play Movement Detroit – how do you like the city? What excites you most about Movement?
Again, I’ve only visited Detroit once before at last year’s Movement so can only speak within those terms. I got the feeling – through talking to people as much as actually being there – that the city is changing for the better and I think Movement has had an influence on that. I could feel a sense of creative energy lurking amongst the concrete. I’ve no idea whether that was just because it was the festival weekend or if that’s a permanent vibration. I expect it’s the latter. Either way I’m looking forward to returning next week.

What can people expect from your set there?
Expect pace! I’ve been pushing the BPMs a lot in recent months.

Any interesting things in your pipeline?
I have a fair bit of new material I’m currently testing but no set release schedule as yet. Also one or two remixes lined up. Besides that I’ve been in the studio with Underworld at various points in the last year; that is still a work in progress at present.

Feature Image Credit: Radlibb

Tickets to Movement, here

Premiere: Anton Dhouran feat. Ed Begley – The Myth of Tarae (Third Son Edition)

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Third Son

The Myth Of Tarae is a veritable story in LP form, and a powerful porfolio of Anton Dhouran’s abilities as a producer. Therefore, he had to ensure that those he chose to remix his originals are equally adept at conveying, and enhancing his vision.

Third Son thus came as a shoe-on for the job. The classically-trained Brit has one MO: make good music. And that he did with his re-work to The Myth Of Tarae’s vocal-laden title track, using his usual level of trance-inducing brilliance.

He bases his interpretation around Ed Begley’s haunting verses, crafting a drawn-out progressive record around them. Subtle hints of synth fall gracefully around Begley’s voice, landing in a bed of intricate percussion. It builds slowly, but carefully, remaining driving all the way through. The final product is one built for a dimly-lit dancefloor, and a standout among the other remixes in the pack.


Pre-order a copy of “The Myth Of Tarae (Third Son Edition)” here

Feature Image Credit: Lauren Commens

Techno Tuesday: Avision tells a tale of techno and working hard for success

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Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.

Passion, patience, and persistence are three especially crucial ideas when it comes to making it in the music industry; especially during a time where the market is more saturated than ever, and less friendly overall to creators. Most musicians don’t become overnight superstars, and for most, the process of transitioning into music full time takes years on end. But, when that goal is accomplished, it’s worth the effort.

Avision is intimately familiar with passion, patience, and persistence, imbuing this principal into his everyday life and career. He is quite the prodigious talent, having first stepped behind the decks at the young age of 12 and scoring his first residency by age 16. Over a decade-and-a-half after making his entrance into the scene and moving with intense drive and desire, he is finally breaking through the surface. Furthermore, he made himself an internationally-recognized talent while staying based in the United States — a rare feat in electronica, where artists often move to Europe to advance their career and receive higher amounts of support and income.

We got him to open up a bit and tell his artistic story — from the trials and tribulations, to the triumphs. Additionally, Avision just released a dark, scintillating new EP on Matter+ titled Free Your Mind. Its three originals are bursting with soul and hints of funk, capturing what made early techno great and tossing this sound into a modern ambiance. Let it provide a background as he tells the tale of his comeup.

 


I started out DJ’ing around New York & New Jersey 10 years ago when I was 14. My first residency was at Club Abyss in New Jersey, which was the hottest club night for teens in that area of the U.S. and it would average at least 1500 kids per night. I also started producing around that time; working on remixes first and then original tracks. When I was about 16, I went to Electric Zoo festival in New York. It was the first time I realized who my cousin (Victor Calderone) really was, and also the first time I heard Techno and Tech House. It changed everything for me, and I started digging deeper into those genres and began finding new tracks and artists that I really liked.

After that, I started to change my sound and began making tech house and techno, which led to me going out a lot in the NY scene. The first real night club I went to was District 36 when I was 17 to see Victor, and it got me to see how everything worked outside of the teen clubs I had been playing. Then I started going to Pacha NYC when I was 18, and those nights really helped me learn everything, how to go through certain tracks throughout the course of a night and control a crowd. That’s when I started DJ’ing at 21+ clubs when I was 18.

Before I started releasing music as Avision, I hadn’t really found my sound yet. I had been releasing music on a bunch of labels under my real name, but I was really just finding my sound and experimenting on who I was as an artist. Once I finished around a hundred tracks, I really figured out what my sound was and the direction I wanted to take with my music. The first Avision release was just over 2 years ago on Victor’s Waveform label, and it went over really well. There was pretty strong feedback from a lot of DJ’s that I respect, and Carl Cox and Joseph Capriati played my track “Conception” at Awakenings in 2016.

After that first Avision release, I sent Mark Broom a Facebook message saying that I was a fan of his and his label Beardman, and sent him an EP that same week. He ended up signing it and he remixed a track from it as well, and this release really kicked things off for me. Mark is such a highly respected figure in techno, and the release on his label really helped give my name credibility in the scene. Ben Sims, Truncate, and many more DJ’s were playing that EP. Having top techno artists supporting my music has been a big foundation of my career so far. I had a release on Carl Cox’s Intec label last year which was a highlight, as videos started popping up of Carl playing my track all over the world (he opened his set at Movement Detroit last year with my “Mind Of The Man” track). I’ve also released on Carlo Lio’s On Edge Society (and have a follow up planned for later this year), another release on Beardman, and also an EP on Ben Sims’ Hardgroove label up next (which will be my first vinyl release).

One of the most challenging things for me has been patience when it comes to gigging. I first started playing at Pacha NYC and building my name in the NY area, and at that point I was taking pretty much any gig that came my way. In NYC, there’s enough parties going on where I could probably be spinning somewhere every week, but since I’ve been releasing as Avision, I’ve really been picky on how many gigs I’ve taken as my goal is to be touring globally in the very near future. Now in NY I probably spin every couple of months or so, and I try for the most part to make sure that the gig is with a bigger DJ I respect and/or with one of the leading promoters and venues in the area so that I’m able to keep building my name up. Lately, I’ve been able to tour more around North America, and have crossed off some key gigs at venues like Stereo Montreal, Space in Miami and The BPM Festival in Mexico.

In the U.S., the techno scene keeps growing and getting larger, but a lot of the people that go out in the U.S. pay attention to what’s going on overseas, and what artists are big there. As an American artist in Techno, in a way it feels like you really need to “make it” and have that stamp of approval by the right clubs and fans overseas in order to breakthrough as a bigger artist here in the States. The club culture in Europe is highly respected, and over here it feels like a new cycle of that club culture has started only in the past decade (with the current wave of electronic music). My focus next is on breaking through in Europe, and I’m working on my first dates there for later this year.

Some key things that have helped me so far in my career:

Mentors: I think it’s really important to have mentors to learn from, and I’ve been lucky to have one right in my family. Victor has been a great mentor to me, and when I started producing I would constantly send him big groups of tracks at a time. He would always give me constructive feedback, but in a positive way so that I was never discouraged.

Networking: Building relationships is something that takes time to create, and I think it’s important to take advantage of any opportunity that comes to you. I can’t even tell you how many times I’ve gone to see a DJ that plays my music, and from that have built a connection and now have an amazing relationship. Everyone likes to put a face to a name. I like to try and take advantage of any opportunity I can to say thank you to a DJ for playing my music, or ask them where I can send new music to, etc.

Work Ethic: I’ve been doing this for 10 years now, and I haven’t taken a day off since. What you put in is what you get out of it. If you’re not in it for the long run, there’s no point in starting. It’s important to take pride in your work and know how to change and evolve over time. Really focus on your strengths and improve your weaknesses.

Team: Having a team behind you is a big aspect in having & building a career – you can’t do everything alone. It’s important to have people in your life that care about you & your career, and to help you build and grow as an artist.

Love: Lastly, it’s important to just love what you do, and to recognize that things will be up & down, and not everything will be sunshine & rainbows all of the time. Keep your focus on the big picture and your long-term goals!

 

Order a copy of ‘Free Your Mind’ here

Techno Tuesday: My Favorite Robot select the tracks that define their MFR Imprint

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Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.

My Favorite Robot maintain an enduring mission: to spread love for more nuanced shades of dance music as widely as possible, all while refusing to define themselves under any one label. The result of this mission? A diverse repertoire of compositions, each containing a skillful balance of house, progressive, and tech elements that are fused into a cohesive whole. Their approach to musicmaking and their unique sound in general has led to the Canadian duo landing on multiple prolific labels, the likes of which include Last Night On Earth, Crosstown Rebels, and No. 19.

My Favorite Robot - 2018

Beyond releases on other labels, My Favorite Robot have one of their own, dubbed MFR Records. Their brainchild has come far from its humble beginnings, signing Kenny Glasgow, Clarian, Emerson Todd, and other greats into its fold over time, just to name a few. The label has just crossed into its milestone 10th birthday, moving at full speed ahead into its next decade of existence.

We wrangled the outfit ahead of embarking on their celebratory label tour, which kicked off mid-April, and got them to give us a list of what they’ve deemed to be label-defining releases over the years. Enjoy the selections!

 


2008 – My Favorite Robot – In The Dark

2009 – Kenny Glasgow – ‘Something Special’

2010 – Jonny White & My Favorite Robot – ‘Desensitize’ (Chloe Remix)

2011 – Nitin – ‘Blink Twice’

2012 – Fairmont – ‘Old Ways’

2013 – Tim Paris – ‘Outback, Stones, & Vinyl’

2014 – Clarian – ‘Unrest’

2015 – My Favorite Robot – ‘Glass To The End’

2016 – Jori Hulkkonen – ‘Black Books’

2017 – Rodion & Local Suicide – ‘Abu Dhabi (Los Mekanikos Remix)’

2018 – Sebastopol – ‘Friday To Sunday’

 

Remaining Tour Dates:

May 12 – Enter the Dragon [Munich, GER]
May 12 – Groove Club [Mexicali, MEX]
May 15 – Techno Taco Tuesdays [Las Vegas, NV]
May 18 – Solset at Firehouse [San Diego, CA]