Matthew Dear emerges from hiatus with two new songs ahead of new album

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Matthew Dear emerges from hiatus with two new songs ahead of new albumMatthew Dear Bunny 1

Experimental electronica aficionado Matthew Dear has announced he is putting out his first studio album since 2012:  Bunny, a Ghostly International production. To accompany the news, he has shared two new original tracks, the aesthetically adverse “Bunny’s Dream” and “Echo.”

The 14-track project, due out October 12 of this year, is to include the previously-released “Modafinil Blues” and collaborative offering with indie alternative duo, Tegan and Sara, “Bad Ones,” foreshadowing the likely complex, highly nuanced nature of the upcoming album.

In a recent release, Dear explains the reasoning behind the album’s en-Dear-ing title choice”

“I’m calling this one Bunny. As always, it’s got a little bit of everything that makes me who I am. Why Bunny? Fundamentally, I love the way the word looks and sounds. I love the way it rolls off the mind and onto the tongue… Bunnies are cute. Bunnies are weird. They’re soft. They’re sexy. They’re lucky. They wildly procreate. They trick hunters, but get tricked by turtles. They lead you down holes…”

The two starkly contrasting tracks serve to represent both the whimsical and gritty sides of Dear’s productions, respectively.

Bunny Tracklist:
01. Bunny’s Dream
02. Calling
03. Can You Rush Them
04. Echo
05. Modafinil Blues
06. What You Don’t Know
07. Horses (feat. Tegan and Sara)
08. Moving Man
09. Bunny’s Interlude
10. Duke of Dens
11. Electricity
12. Kiss Me Forever
13. Bad Ones (feat. Tegan and Sara)
14. Before I Go

Steve Hauschildt announces debut album via Ghostly International, reveals lead single, ‘Saccade’

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Steve Hauschildt announces debut album via Ghostly International, reveals lead single, 'Saccade'

Off the heels of his involvement in the psychedelic noise outfit Emeralds and its eventual dissolution, Steve Hauschildt found himself at home again in the sublime landscape of experimental electronica.  Now, in accordance with his solo minimalist techno work,  Hauschildt’s announced he’ll be releasing his first album for Ghostly International in early-August.

The album’s title, Dissolvi, is a reference to the Latin phrase cupio dissolvi, which translates to “I wish to be dissolved.” Per the album’s press release, physiological phenomena are of severe interest to Hauschildt and as a result, his songs are distinctly cerebral in their orientation, while the music’s visceral energy lends largely unexplainable.

Dissolvi‘s announcement comes complete with the album’s lead single, a soft new track “Saccade,” featuring the Los Angeles-based musician Julianna Barwick.  The work of Chicago poet Carl Sandburg comes to mind when listening. As in, “I am the people—the mob—the crowd—the mass.” In coincidence with Hauschildt’s interest of dissociating the self in this work, the individual, too, dissolves into the crowd, as well as in Barwick’s saccharine echoes in the song.

Speaking about the album’s recording process and its effect on the work, Hauschildt said: “Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music. The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative.”

In his embrace of new methods and philosophical curiosities, Hauschildt’s expanded the range of his output, and delivered a fascinating and profoundly rich experience in listening, being, and contextualizing as a result.

Ghostly International will release Dissolvi on August 3.

Album Cover Art Credit: Robert Beatty

HTRK return with two-track Drama EP ahead of new full-length on Ghostly, stream new track “Mentions”

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New music from surrealist proto-punks HTRK brings a lot of sensations. It’s like the gentle kiss on the cheek from a rising loved one while you remain sleeping in the early morning. It leaves you drifting in and out of dreams, thinking about the recent death of a celebrity or how often you should be watering your plants.

The beloved Australian band’s recovery after the tragic loss of their bass player Sean Stewart led to 2014’s Psychic 9-5 Club, a devastating, impossibly good record. Now, after four more years of radio silence, they’ve announced their return with a two-track EP Drama — out July 6 on Ghostly International. This, of course, is just a quick teaser (they’re known for those), as the band is reportedly in the studio working on a full-length record arriving on Ghostly sometime later this year.

Below, you can stream “Mentions,” the A-side of the upcoming EP. Like most of the best work from the duo of Jonnine Standish and Nigel Yang, this track comes from a place of imbalance and uncertainty. Grieving a lack of given intimacy from an obsessive, digital world, the song doesn’t disappoint. It follows closely in the gentle footsteps of 9-5 Club.

After that, you can also pre-order the 12-inch, physically and digitally — though it’s obvious from “Mentions” that they’d prefer the physical format.

Then, sweet angel, you can go right back to sleep. Sweet dreams! I love you.

Drama by HTRK
Drama cover art: Gian Manik

Drama EP’s super dramatic tracklisting:

01. Mentions
02. More to Enjoy

X-Altera – Compound Extraprotus

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Detroit-based producer Tadd Mullinix is a man of many names and many skills. From his hip-hop tinged instrumentals under his Dabrye moniker to his acid and techno releases as JTC, Mullinix has never strayed from creating from an array of genres and perspectives. Fittingly, the eclectic producer has just released a new jungle-inspired single, titled “Compound Extraprotus” under his new X-Altera alias.

Coming just a week before the self-titled X-Altera LP drops on Ghostly International, “Compound Extraprotus” is a dark and textured approach to jungle that showcases Mullinix’s grasp of a wide-range of production styles. A close listen exposes an homage to electronic cultures of the past, with Mullinix finding inspiration in “the deep, melodic techno of Detroit and London.” With two X-Altera singles already out, an album to come on June 15th, and the release of a Dabrye LP earlier this year, Mullinix continues to position himself as one of Detroit’s top purveyor of underground sounds.

H/T: Resident Advisor

Heathered Pearls taps Matrixxman for old-school, acid techno rework on forthcoming remix EP

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Ghostly International‘s Heathered Pearls revisits his gorgeous 2017 ambient techno EP, Detroit, MI 1997-2001, with a collection of remixes which further interpret the material and the city of Detroit that had so greatly shaped the Polish-born, Brooklyn-based artist.

So far, Alexander’s shared the first of the reworks, Matrixxman’s “8 am techno reawakening,” an acidic, lo-fi interpretation of “Under The Bridge,” one of three new angles for the piece on the remix set.

Drilling the ethereal number deeper into the underground and stripping the track of its pearlescent shimmer, Matrixxman unveils a rattling, old-school acid techno. With a much more immediate interpretation, Matrixxman’s “8 am mix” possesses both a fitting title and the contrasting properties to enjoy in accordance with the dreamy original.

Detroit, MI 1997-2001 Remixes is out July 13. Pre-order it here.

Music Review: Mary Lattimore – Hundreds of Days

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Mary Lattimore

Hundreds of Days

[Ghostly; 2018]

Rating: 3.5/5

After a while, you forget it’s summer. You don’t remember what the morning is. After a while, you won’t remember what summer is or its happiness that with summer has long since merged into a fading white light, when that morning had awakened and ceased. But here you are, now in it immersed. Your eyelids flutter to alight upon the dawning of world, as dreams with memories mingle, tangled together as are your legs with soft linen sheets. There, the curtain quakes before the windowpane in blissful breeze, distilling as it drifts a soft, white light that is as immersive as it is inaccessible. This slanting light1 is a caress. It is voluptuosity itself. It is an angel wing that sweeps the light beams. It goes beyond touch and comes from far past the yearning to touch. Swirling in this unreality at the threshold of the real, you are caressed by a glimmering light, and in its evanescence and swoon, you feel like floating in the scintillating pure experience of being with yourself in the illumination of the inexpressible.

And there’s no need to describe the sense of utter loss you feel upon awaking. And there’s no need to say this loss has no object. After all, the only memory of happiness is the mourning for its immemory. Being wholly yourself is rapture, but also voluptuosity profanes. The revelation of the hidden as hidden is not to be seen, and what it discovers can’t be rendered visible, even though it is all lightly so. Only the feeling of utter loss you feel upon awaking, only the whisper that this loss has no object.

Hundreds of Days by Mary Lattimore

The plucks and shimmering washes of her harp seem like they belong to an Arcadia where the flowers still bloom beneath the lyre of Orpheus, or else angels, or else the opening of the sky. Yet, to hear this is to be nostalgic for its loss. Yet it was never lost, or else: it was only ever loss. Nostalgia is the condition for a memory that can’t be remembered. An angel that arrives having forgotten what it came to pronounce. An angel that tenderly annihilates. An angel that pities those who see it without being entirely consumed.

The Denis Johnson story “Emergency,” from which she borrows the words, “Their Faces Streaked With Light and Filled With Pity,” is the story of impossible sight. Describing the faces of angels that appear in rapture to two visitors in death’s land and just as abruptly pass from miracle to morbid materiality, the pity, I think, is that the witnesses to the emergent rupture didn’t just shatter there and then. The pity, I think, is that as soon as you notice you’re happy, you no longer are. I think the pity is that memory requires this distance in order to retain what might else be lost. Without this pity, “It was the most beautiful summer of my life,” is impossible to say, and is just as impossible to conceive in song. Yet, an ideality that expresses its own impossibility, that, with pity, destroys itself in unraveling in time, maybe this was the happiness we can’t keep with us. Maybe I can understand how a drowning man might suddenly feel a deep thirst being quenched. Maybe I can understand why angels speak in music and why they are always adorned with harps as with incense. And maybe I can understand why a caress belongs to the world of light.

1. Here are all of the times the words slanting light appear in The Brothers Karamazov:

That is exactly how it was with him: he remembered a quiet summer evening, an open window, the slanting rays of the setting sun (these slanting rays he remembered most of all), an icon in the corner of the room, a lighted oil-lamp in front of it, and before the icon, on her knees, his mother, sobbing as if in hysterics …

Perhaps he was also affected by the slanting rays of the setting sun before the icon to which his mother, the “shrieker,” held him out.

And there was much more that I can’t recall or set down. I remember once I came into his room alone, when no one was with him. It was a bright evening; the sun was setting and lit up the whole room with its slanting rays. He beckoned when he saw me; I went over to him, he took me by the shoulders with both hands, looked tenderly, lovingly into my face; he did not say anything, he simply looked at me like that for about a minute: “Well,” he said, “go now, play, live for me!” I walked out then and went to play. And later in life I remembered many times, with tears now, how he told me to live for him.

But it is possible, it is possible: the old grief, by a great mystery of human life, gradually passes into quiet, tender joy; instead of young, ebullient blood comes a mild, serene old age: I bless the sun’s rising each day and my heart sings to it as before, but now I love its setting even more, its long slanting rays, and with them quiet, mild, tender memories, dear images from the whole of a long and blessed life — and over all is God’s truth, moving, reconciling, all-forgiving! My life is coming to an end. I know and sense it, but I feel with every day that is left me how my earthly life is already touching a new, infinite, unknown, but swift-approaching life, anticipating that my soul trembles with rapture, my mind is radiant, and my heart weeps joyfully …

The whole of the old man’s profile, which he found so loathsome, the whole of his drooping Adam’s apple, his hooked nose, smiling in sweet expectation, his lips — all was brightly lit from the left by the slanting light of the lamp shining from the room. Terrible, furious anger suddenly boiled up in Mitya’s heart: “There he was, his rival, his tormentor, the tormentor of his life!” It was a surge of that same sudden, vengeful, and furious anger of which he had spoken, as if in anticipation, to Alyosha during their conversation in the gazebo four days earlier, in response to Alyosha’s question, “How can you say you will kill father?”

Kllo shift their sound on new single, ‘Potential’

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Melbourne duo Kllo released their first single, “Potential”, buttressed with an accompanying video since their breathtaking debut album, Backwater, in 2017.

On “Potential,” the Ghostly International group, consisting of cousins Chloe Kaul and Simon Lam, made a conscious effort to grow their sound. An atmospheric opening morphs into a subdued production, with a focus on Kaul’s characteristically effortless vocals and Lam’s subtly clever arrangements. It’s a track that displays its ambition in a reserved manner — one that bodes well for the duo’s upcoming efforts.

The video released concurrently with “Potential” fits the bittersweet tone of the track itself, following both Kaul and Lam separately before uniting. A number of effects to give the video a nostalgic, glitchy look similarly match the emotions of the track.

Photo Credit: @kllomusic/Instagram

Poolside puts a mellow spin on Tycho’s ‘Horizon’

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Few artists can craft a sound that is so thoroughly their own the way Tycho has. The Ghostly International signee’s trilogy of albums quickly were individually recognized for their brilliance and quickly bred a committed fanbase.

Following the release of Epoch in 2016, Tycho has toured extensively but remained relatively quiet on the production front, with only remixes of Portugal. The Man‘s “Live in the Moment” and his own track, “See,” from 2014’s Awake that featured vocals from labelmate, Beacon. Withs fans eager for more from the project, Tycho tapped tour mate Poolside to deliver a remix of “Horizon” from Epoch.

Starting with such a singular style is inherently challenging, as one must carefully toe the line between keeping what makes the original so affecting while still crafting it into something new and intriguing. Poolside is more than up to the task, molding Tycho’s soaring style into a more grounded, though nonetheless grabbing, reproduction. Most impressive is the producer’s ability to include such an array of different synths and sounds — glittering arpeggios, swirling pads, and thick basses — into a cohesive piece that doesn’t sound overly busy or indulgent.

Clocking in at just under six minutes, Poolside’s remix never loses the listener’s attention and is a welcome, artistic take that lives up to the appeal of Tycho’s original.

DA presents: 10 sets you can’t miss at Movement 2018

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Words by Bella Bagshaw and Grace Fleisher

Despite a visibly shifting techno scene stateside, 2018 marks one of the most banner years for  Detroit, and America’s finest house & techno institution — Movement. With a booking that arguably serves as a controversial departure from the city’s roots, Movement’s 2018 programming captures the experimental essence of the times, a time where producers are gifted more creative freedom than ever to explore new sounds and the space between genres. As some techno becomes more and more of an amorphous body of music, free from rigid delineations, and a spectrum of experimentation emerges, there will always be those that prefer the pioneers lead the way.

No matter whether one’s an old techno head, a Drumcode-stan, or feeling the direction that Dirtybird is taking tech house, there’s one thing we can all agree upon — Movement will deliver. Ahead of the festival, Dancing Astronaut has taken to compiling the 10 sets not to miss. From the more obvious, Detroit-heavy mainstays who continually rep the city, to the purveyors of present and past innovation, 2018 promises to be an unmissable installment. Movement is techno history in the making. Don’t miss out. 

10) Shigeto

Photo Credit: Kristin Adamczyk

Movement 2018 marks a proper Shigeto homecoming. Beyond the Ghostly International artist’s booking, which will allow him to showcase his triumphant new album, The New Monday, Zachary Saginaw represents the exemplary booking of Movement’s solid undercard. An equally exemplary representation of what it means to be a musician in the modern age, Saginaw’s music is a union of classical training, energetic ambient programming, hip-hop, jazz, raw passion, and everything in between. His latest work was inspired by a return to the city of Detroit and is delivered with an unequivocal passion that meets Motown’s diverse musical history, which not to mention, promises a spectacular live show, complete with an impassioned fervor on the drum kit. Shigeto recently launched his own label, Portage Garage Sounds, which doubles as a creative outlet for the city’s local musicians and as a weekly showcase purveyor at the city’s Motor City Wine. He’s steeped in the breadth of what it means to be a working artist in the birthplace of techno and will undoubtedly do the city justice, playing everything from Motown to Danny Brown come his Hart Plaza descent.

9) Mija

Photo Credit: Ryan Farber

It’s more than likely Mija’s “Fk A Genre” mentality will take a backseat to her longstanding love for Detroit techno, if nowhere else but for her 2018 Movement set. Coming off her highly stylized HOW TO MEASURE THE DISTANCE BETWEEN LOVERS EP, Mija can usually be found wielding buoying bass music these days. However, cleaning up the festival this year just behind Rezz, from 8-10 on Monday, she’ll be showing the Stargate Stage just how deep her omnipresent tech house tastes run. 

8) Dubfire

Photo Courtesy of the Artist

Celebrating the 10th anniversary of both his illustrious solo career and the inception of his SCI+TEC label, internationally revered DJ, Dubfire is showing no signs of ware. The Iranian “Exit” producer will return to Movement for a two-hour 10-midnight headlining set. Fans would be hard-pressed to miss it, as the four-time nominee and Grammy-Winner is known to seamlessly summon sets straight out of the techno underworld.

7) Carl Craig

Photo Credit: Ryuya Amao 

Carl Craig can be described as an electronic music icon, a world-class dancefloor experimentalist, and an ambassador for his native Detroit, but no such term would suffice for the work and art the man has bestowed upon the city of Detroit — and really, the entire world of techno — over the last few decades. Having served as the co-creator and artistic director for the Detroit Electronic Music Festival in 2000 and 2001, Craig’s served on the frontlines of the techno revolution in Detroit since its dawn.  With a plethora of releases under a multitude of aliases, Carl Craig has had more musical personalities than most electronic artists in their lifetime. Whether he’s serving up his deep commitment to soul, jazz, or techno come Memorial Day weekend, Hart Plaza is in for a treat. Craig will be reminding attendees that Detroit is the birthplace of techno, after all.

6) Ida Engberg

Photo Courtesy of Awakenings

One half of the techno’s Swedish power couple, Ida Engberg has been spinning her intoxicating web of minimal house and techno on the high-profile, low-nonsense techno label, Drumcode, spearheaded by her highly decorated husband, Adam Beyer for quite some time now. Born in the suburbs of Stockholm and coming up through the Swedish underground club scene, she has more than paid her dues. Don’t miss Engberg show the boys at Pyramid Stage how it’s done Saturday.

5) Helena Hauff

Photo Credit: Vitali Gelwich

Revered for her outpouring love for 80s synths, industrial, and cold wave classics, Helena Hauff is leading the avant-garde hardware movement in both electro and techno. As a supreme selector and enthusiast for a vast array of musical subcultures; her sets boast everything from punk to nu-wave, industrial, krautrock, and avant-garde electro. Hauff’s pushing the boundaries of what it means to exist as an artist.  She’s rooted in raw experimentation, and her Movement set promises a polar opposition to the perfect, polished mainstream.


Photo Courtesy of Artist

Dirtybird Australian newcomer, Fisher’s iconic “Ya Kiddin’” track took on a life of its own last summer, rapidly becoming one of the most Shazamed anthems of the 2017 festival season. Since then, he has stunned with his Oi Oi EP, containing hits like “Stop It,” which has had everyone from Dirtybird Campout to Coachellamovin’ up and down side to side like a rollercoaster.” Follow the Fish Saturday to the Movement stage to get a piece of the funky frenzy everyone in house music has been raving about.

3) Nina Kraviz

Photo Credit: Luigi Pica

Perhaps the best way to sum up the work of the Russian dentist turned DJ, Nina Kraviz, is by taking a look at her quote “Music is a continuum connecting generations,” in her crowning piece as Mixmag‘s 2017 DJ of the year.  The cosmonaut dentist weaves through eras with ease, and with little to no novacane, too. Her Movement set will be one of her few performances stateside in the next year, and with her burgeoning, mutant techno, power-house bombs, and a few trance numbers, attendees won’t want to miss one of the most talked about stateside techno sets of the coming year.

2) Claude VonStroke

Photo Credit: Tim Jones

Dirtybird label head and founder, Claude VonStroke, will show fans who isn’t afraid of Detroit Saturday at the official Movement Stage. The Dirtybird crew is an unrelenting force at movement each year—this year notwithstanding—though VonStroke is sure to wield a massive set, as his proclivity for Detroit techno is hallmarked by his explosive, omnipresent appearances at Movement. His 2016 set at the fest for example, shook Detroit to its core when he teamed up with none other than Green Velvet at the Red Bull stage for one of their classic, unforgettable 90 minute b2b sets.

1) Charlotte de Witte

Photo Courtesy of the Artist

Charlotte de Witte is the name on the tips of the techno world’s proverbial tongue. With a style that remains as tied to the underground techno scene as it is trance, and Belgium — where de Witte’s from — she’s proving to be an all-around revelation for the state of techno. With a DJ set that’s guaranteed to keep the audience moving and a thunderously aggressive, stripped-down approach to her own music, de Witte is a multifaceted artist of the finest degree, and her Movement set will undoubtedly deliver on the thunderous nature of techno that so many desire.

Featured Image Photo Credit: Stephen Bondio

Dabrye makes long-awaited return with ‘Three/Three’ LP

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Michigan-based producer and Ghostly International artist Tadd Mullinix began releasing under his Dabrye moniker in the late ‘90s. Spearheading the hip-hop scene with an unmistakable medley of influences, Dabrye merged hip-hop, Motown, and Detroit techno when he debuted his first release under the moniker, One/Three — the first installment in a planned trilogy.

After the album’s release, Dabrye’s distinct marriage of divergent genres captured the attention of Detroit production legend J. Dilla and the two went on to collaborate with Phat Kat on a track called “Game Over,” in 2004. Just two years later, Dabyre released the second installment in the instrumental series, Two/Three.

Despite both his immense success and ample respect from the hip-hop community, Mullinix retired his Dabrye moniker after the release of Two/Three. At last, he’s made his massive return with a 19-track LP, Three/Three —the final number in his prophetic trilogy, and the first release from the artist in more than 10 years.

Three/Three boasts an ingenious list of storied collaborations, from rap heavyweights like DOOM, Wu-Tang Clan‘s own Ghostface Killah, and Roc Marciano, to a compelling showcase of Detroit talent from the immensely gifted Shigeto, Guilty Simpson, Danny Brown, and more — Dabrye’s in top form on Three/Three. Through the album may be his final installment in the trilogy series, if its sheer energy tells us nothing else, it’s that Dabrye’s work is far from done here.

Listen to the full album here.

Photo Credit: Facebook/ Brett Carlson