Premiere: Thomas Fehlmann – “Window”

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Pennsylvania, 1998: Your intrepid writer-to-be, yet just an impressionable young teen, listens to The Orb’s Orblivion for the first time. With its unconventional samples, cohesion of ambient and dance elements, and dense layering of textures, you could say his mind was sufficiently blown.

Montreal, 2009: To celebrate MUTEK’s 10th anniversary, Thomas Fehlmann (half of The Orb) came to throw down at one of two “Picnic” events, so named for their outdoor venues. The weather was warm, the surroundings green, the people giddy, and Fehlmann’s electronic set was dubby, carefree. The guy made it look fun.

Mexico City, 2017: Back to performing with The Orb again, Fehlmann and longtime collaborator Alex Paterson embark on an ambient performance.

The nether regions of the Ultraworld, 2018: Thomas Fehlmann is back with his seventh solo outing and fourth for Kompakt. As we recently reported, the album is out September 7 and titled Los Lagos, a sorta inside joke used as a greeting between Fehlmann and friends. And wouldn’t you know: we got the premiere of a new track called “Window.”

Some artists might stay with us for a few years. A rare few endure for decades; to that I say, Los Lagos, Thomas.

Pre-order Los Lagos here, and listen to “Window” here:

Thomas Fehlmann (The Orb) lowers his techno inhibitions, makes out with Los Lagos, his upcoming release on Kompakt

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Similar to the way that Britney Spears sang with a ton of conspicuous innuendo about being a slave to music/dancing, Swiss composer Thomas Fehlmann has just announced a new album on Kompakt where he reportedly “allowed himself to techno.” Artists of all stripes are typically all-too inclined to micro-analyze their work while it’s still in progress, so for the upcoming Los Lagos release — out on all major formats September 7 — Fehlmann made a point to disregard his prying ears and eyes and let the musical snowball roll downhill. Here’s the Berliner elaborating without getting all sweaty in an abandoned warehouse somewhere:

To techno is to deconstruct and rebuild again, to set up an area of tension and lose it in the flow of grooves. It’s magnifying a detail out of proportion, or slowly knitting a texture. I wanted to find a structure that’s surprising, disruptive and rewarding, so I switched off the control and followed my intuition. I’m trying to expand my vocabulary and bring out a new beauty. It’s a complex process of search and destroy.

One figures that Fehlmann can probably afford to let his intuition take the lead, since he’s been making and releasing electronic music for around 30 years now. Los Lagos will be the 7th LP in which his name stands alone among the composer credits, but otherwise, most people know him as one-half (alognside Alex Paterson) of the influential ambient house outfit, The Orb. (And those two might be unofficially competing with Autechre in an endurance test between electronic duos. I guess whoever admits under interrogation to using a non-sampled acoustic guitar…loses?)

Listen to Los Lagos’s track, “Morrislouis,” below and pre-order Los Lagos here.

Los Lagos tracklisting:

01. Löwenzahnzimmer
02. Window
03. Morrislouis
04. Tempelhof (feat. Max Loderbauer)
05. Freiluft
06. Triggerism
07. Neverevernever
08. Geworden

The Field announces new LP ‘Infinite Moment’ via Kompakt

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The Field announces new LP ‘Infinite Moment’ via KompaktThe Field New Album

Swedish ambient techno producer Axel Willner has announced his next album as The Field will arrive this September via Kompakt.

Infinite Moment will be the sixth LP from Willner and see the celebrated artist hone in on “a more analogue and organic approach” — one where he’s “substituting the uptempo vim of his previous pieces for a sense of mind-expanding horizontality,” according to a press release.

“Hope is something I’ve been missing in the nowadays climate,” Willner says. “And this album is a relief to me, a type of comfort, like a moment that feels good and you don’t want it to end.”

Infinite Moment sees the Swedish producer return to Kompakt after having released his last full-length, The Follower, on the label in 2016. Infinite Moment is out via Kompakt Sept. 21.

The Field return with new album album Infinite Moment (and you’ll never GUESS what the cover art looks like)

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Jeez, I don’t know about y’all, but I can BARELY remember two years ago. I mean, let’s see: the Chicago Cubs were still lovable losers, Obama was still the US president, Bitcoin was still hip…kinda seems like a UNIVERSE or two away from where we are today.

As it happens, two very long, long years ago was also the last time we heard so much as an ambient-techno peep from Axel “The Field” Willner. But now, the time has come! The world NEEDS new music from The Field! And Willner has heeded the call. His sixth album for the Kompakt label, Infinite Moment, shall soon be released — on the somewhat more definite moment of September 21, in fact — as a 2xLP, CD, and digital download.

And he’s not even phoning this one in, either! Reportedly, the album finds Willner “striding further across the deeper, richer rims of the hue cycle.” Or, in his own words: “The threshold of creating something new had to be broken,” and the results of all that expectation-smashery are record “filled with hope and draped in a diffuse, appeasing light; easing the pain and troubles of the human soul through a lushly forested recital of shoegazing modular, complex textural interplays and solar, atmospheric fractals.”

C’mon, you totally want you some of that action, don’t you? Head here to pre-order Infinite Moment right this finite moment! And while you’re waiting, re-live that mysterious realm known as “two years ago” down below.

Infinite Moment tracklisting:

01. Made of Steel, Made of Stone
02. Divide Now
03. Hear Your Voice
04. Something Left, Something Right, Something Wrong
05. Who Goes There
06. Infinite Moment

Music Review: GAS – Rausch

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[Kompakt; 2018]

Rating: 4/5

“A screaming comes across the sky. It has happened before, but there is nothing to compare it to now.”
— Thomas Pynchon, Gravity’s Rainbow (1973)

a screaming comes across the forest: quiet whistles bellow deepening the fog, seep solitude sipping the narco-silence emanating from the leaves, dissipating, shudder open like shutters shut, slam croak and fidget, the body numbing up like white noise rising up the xylem of the spine, up through the canopy, up to the sky, reflection of strobing shadows, four-on-the-forest-floor.

but Voigt’s flora wilts on Rausch, instead calcifies into concrete; towering trunks are skyscrapers that sink into tar gutters, ancient pits of pitch, fossils of decay: i-beams, wishbones, a melancholy string theory of elevator wires, as snakes tying knots around the rubble do, the quicksand of bursting sandstone, fire in the black hole of war hawk anomie, psychopathy — frenzy.

Rausch (n.)
1. flush, intoxication
2. frenzy

the sense of being overcome is central to Voigt’s psychedelic, psychotropic atmospheres: transgressive experiences not only eclipse the self, but also overcome being altogether, rendering alternate states of consciousness that break down the doors of perception to uncover new realities in familiar spaces. the sluggish, metastasizing drone of Rausch is the extreme conclusion of such intoxication, an eclipse of sanity, a subversion of objectivity: it’s a reverie in bokeh, being overcome in a haze of swift movements, a mosaic of slow-motion figments of stress and destruction in a frenzy, their echoes sketching auroras of reverberations between the trees: explosions’ fractal blooms venting emasculated burps, the tip of tumbling conifers marking minutes in the sky on the way of their decline. memory contrails — in this case — of poison.

because GAS is no mere fog, haze, or mist anymore — what it once was: a bright, fresh aura. now it’s tear gas, nerve gas, a gas leak, a gas mask. this isn’t new; it sounds familiar, a deeper foray into Narkopop’s haunting rhythms. but Rausch removes itself further from the arboreal muses of Narkopop or, at least, subverts them. Voigt & co.’s so-called pop ambient occupies the liminal space between organic and synthetic — not an exclusionary boundary, but an overlapping one — exploring the tension between prehistory and modernity at the heart of electronic music, two chambers of experience exchanging one blood, one beat, one bass: Voigt simply transposes the shivering flora, rustling fauna inhabiting past records to the tune of bio-cataclysm, symbiotic with twilight capitalism.

and Rausch is deep into that metamorphosis: organic shapes toxic, vomiting rivers of mercury — bitter-tasting, mercurial moods. the salmon in the stream are full of it. the trees discolored too, drenched in acid rain. forests on fire, puffing murky gas, noxious gas, the aroma stains of gasoline. survivors cut down, dismembered, shaped down into trim slivers, polished up and glossy as silver with resin, formed & fitted to a seat, a desk, a house, a hollow skeleton of timber, stairs climbing up the back of the spine, hardwood floors, hardwood finish at the front of your car, splinters spinning in a high-speed crash, perforating patterns on the smooth surface of your skin, highway fatalities by way of wooden injections, mementos mori.

invasion, commodification, exploitation, and consumption of the organic, and vice-versa; thus was the world created. Rausch is a portrait of nature as the birthplace of modernity, and the birthplace of modernity is here. so is the end of it.

this could just as easily be the beginning or the end.


Kölsch revives his IPSO label with an invigorating new Tiga collaboration, ‘HAL’

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Kölsch revives his IPSO label with an invigorating new Tiga collaboration, 'HAL'

Quite some time ago, the Danish dance auteur Kölsch unveiled his own IPSO label under the storied Kompakt Records. The label’s inception began with Michael Mayer’s double-sided “Dogma” release in 2016, although unfortunately, it saw no further avail — until now. Kölsch has revived the collaborative project, of which his residency in Cologne took the same name, with a brand new collaboration with the Turbo boss Tiga.

Kölsch and Tiga let their dance floor intellect shine on “Hal,” most notably with Kölsch’s swelling vocal samples. Understandably, comparisons to the supercomputer of the same name from the seminal 2001: A Space Odyssey cannot help but be made.

Miami Music Week & Beyond: How Kölsch continues his global domination [Interview]

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Kölsch didn’t prepare anything for his nine-hour residency sets at the Gewölbe Club in Cologne, Germany. “But that’s the beauty of it,” he reveals.

Known for his rousing, deeply emotive tracks, the Danish producer believes in both the freedom of music, and of his surroundings dictating his sounds. The aforementioned can certainly be said for the artist’s unparalleled open-air performance last fall atop the Eiffel Tower. His oeuvre has only continued to rewrite the rulebook of modern production, with each and every performance serving as a further testament to his craft and rinsing in the global circuit.

Kölsch’s music implements an articulate understanding of his surroundings, the solace of the times, whatever and whenever he may be drawing from — one he earned in part by growing up in the hippie community of Christiania. Though he’s revered for his countless remixes, each original work comes complete with clear sentimentality. The journey is always vibrant and picturesque, with the electronic composer offering his listeners a window into his soul or his past with each carefully crafted piece.

His most recent LP, 1989, was the final installment in an autobiographical series which embeds his finely-tuned craftsmanship with a newfound emotive elevation of his artistic output. Its sonic landscape is an intensified deployment of real-life orchestral sounds, marking a true ascension for the artist.

Unexpectedly, Radio 1 DJ Annie Mac has shown her undying support for Kölsch’s work, noting, “that man is sort of King when it comes to pianos and house music. He’s got a way of wrenching your emotions.” Of course, she’s right. From his last full-length’s gut-wrenching tearing through the bleak, loneliness that at times plagues adolescence, it may seem that there’s only one side to Kölsch; though a deeper dive into his discography proves the artist, like many, contains multitudes.

With a string of high profile festival shows and a stellar BBC Radio 1 show under his belt, his iconic status has showed no signs of stopping. He an Ibiza residency dubbed “In The Dark” at Hï Ibiza last season, played the iconic DC 10, Berghain‘s Panorama bar, and made his infamous Eiffel Tower live stream for five million people.

Dancing Astronaut had a chance to catch up with Kölsch amidst his global domination as he’s about to touch down in the states for Miami Music Week and will return in April for major performances at Coachella. During the discussion, he touched on his thoughts on the US dance scene, the extinction of EDM, how he remedies his sets worldwide, and more.

Shots by

Congratulations on your absolutely incredible year! On top of your BBC Radio 1 domination and playing the main stage at Tomorrowland 2018 you’re approaching your first performance at Coachella. What can attendees expect?
I’m really looking forward to experiencing the whole festival.  I’ve never been, but many friends say it is an incredible festival. I can’t wait to play a killer set.  What you can expect is more of my charming self. That plus good techno records and my intensive competitive miming act is sure to be special. On another note, I don’t think the US is ready for my techno miming act, so I’ll just do the techno.

How do you feel about playing Coachella as opposed to Glastonbury in the UK or Tomorrowland?
Coachella is definitely on the bucket list I always wanted to play. I’ve been lucky over the years to play most of the festivals I dreamt of (Sonar, Melt, Dour, Tomorrowland, Timewarp, Awakenings, Glastonbury, and so on) I actually think that Coachella is the last major festival on my dream list I haven’t played yet, so I’m really excited.

More underground electronic artists seem to be playing at Coachella this year. Why do you think that is?
The downfall of EDM beckons for a new sound to rise.  In Europe, EDM is completely dead, and all big festivals have techno acts as headliners next to the headliner bands. Radio has also lost a lot of the power it used to have, and therefore, kids are finding their own new heroes online and through friends. I love the fact that there is finally room for new music at festivals. Be it techno, fresh Indie bands or hip hop it’s about time all festivals start realizing that mass SoMe Followers, doesn’t always result in guaranteed ticket sales. There have been way too many lazy bookings over the years, and I’m very happy to see that change.

You’ve recently had a successful residency at Gewölbe Club in Cologne, Germany. ISPO. Tell us about how that came to be and how it is playing that club?
IPSO stems from Ipso Facto. It ruffly stems from “by the factor off,” and is the name of my label. I’ve got a bunch of releases planned on the label, so I decided to expand the concept into a traveling residency. Its been going at Gewölbe in Cologne for 2 years now, and I usually end up playing very longs sets. Up to 9 hours. It’s such special club, as it has the only bespoke built Martion Horn Speaker system in the world. The sound is out of this world.

How does it compare to playing a venue like Ushuaia in Ibiza, for instance,  in terms of planning, energy, set length?
It’s a completely different beast. Playing in front of 12,000 people for 90 min demands a completely different level of discipline than a smaller club. There is not the same room for experimentation. Playing nine hours on a good sound system with the right crowd is any DJ’s dream gig. It feels like therapy to me.

Do you do anything to prepare for the up to nine-hour sets for IPSO in Cologne?
I don’t prepare anything, that’s the beauty of it. With the sound system at Gewölbe one thing I’ve been practicing other than slower tempo and energy, is starting my sets with tracks with a more open sound. Maybe tracks that haven’t been squashed in mastering, so there is more room, to intensify the energy later in the set. Its very interesting to experiment with building a set that way.

How do you see the current scene of electronic music in the US from your point of view?
After the extinction of EDM, the scene is fantastic. There is an amazing form of optimism in clubs all over the US. Suddenly there is room to move more freely and it seems a lot of the freaks are coming out again. People are exploring a new sound, and I just get so much great music these days from the states. I love that the scene has escaped the pigeonholing of style, sound, and attitude that was defined by EDM festivals. For a while there it felt like I was playing in 1997 at Mayday in Germany. It was depressingly hilarious to witness that the scene was so far behind. Thank god for the progress.

How does playing clubs where you can create a new chapter for the club compare to playing the Eiffel Tower like you did back in the fall? That seems to be a true once in a lifetime experience…Maybe the best open-air venue in the world…?
It was definitely a life-altering moment. I’ve had a long-lasting love affair with Paris. From early Laurent Garnier records, through Ludovic Navarre to the French Disco house era hailed by Daft Punk, it’s been a defining place for dance music. The last 10 years have ushered a different, and tougher time for the French. Terrorist attacks have sadly been all too frequent and I felt that I needed to illustrate how much we all love and support them. Just to play Acid Eiffel by Laurent Garnier, a record that influenced me so much in 1993, on the Eiffel Tower was extremely emotional.  Dance music may not be political, but on an emotional level we can all show support.

Was there ever a point in your career where you’d said, ok, I know I’ve made it if I’m playing here?
Well playing there was never even a thing I could have ever considered possible. I could have never event dreamt of that, as I got into this scene, so it was a very big deal for me. My French grandmother who is 93 watched the whole set on her laptop…that made me extra proud.

What tracks do you have in mind that you will definitely play at Miami Music Week?
I’ve got so many new demos in want to test out…currently working on a new IPSO collab with Joris Voorn that I will definitely play.
Also testing out stuff for my next Speicher 12”, so demo galore.

Which track do you have in mind for the anticipated b2b with Tiga at All Gone Pete Tong Pool Party?
It’s going to have to be our new tracks from our upcoming IPSO collab. It was such a pleasure working together. We had a great time in the studio.

Which track for the Kompakt at Space Party?
Maybe a Kompakt classic. I’ve been hammering Donnerkuppel by Robag Wrühme again lately, so maybe that one.

Do you have a track in mind for Get Lost Miami?
I’ll see how underground I can get away with playing there. I really want to take it far out, so I’ll be digging into my rarer records for that one…

And finally, where can we expect the Kölsch sound to move to in the new year? One of our all-time favorite quotes of yours is, “I was trying to make a Balearic version of Jeff Mills..” and it’s in reference to the making of “Calabria.” Obviously, a lot of time has passed since then and your music is consistently evolving, but considering your latest exclusive release other than the WhoMadeWho remix and now “Left Eye Left,” was 1989 — the significantly more emotive, final installment in the album trilogy — we wonder whether the grey shall clear and we’ll see a new side of Kölsch…
The Grey is well and over… I’m working on a lot of new material. Experimenting a lot right now with new demos, so let’s see what comes out of that…

Kölsch US Tour Dates:

March 22: All Gone Pete Tong Pool Party Surfcomber, Miami, FL
March 24 – Kompakt Club Space, Miami, FL
March 24-25 – Crosstown Rebels present Get Lost Miami, FL
April 15 – Coachella, Indio, CA
April 22 – Coachella, Indio, CA


Kölsch shares first original of 2018, ‘Left Eye Left’

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Danish-born Rune Reilly Kölsch is irrefutably unparalleled in the emotive dance realm. Now, the producer’s just dropped off his long-anticipated ID,  “Left Eye Left” — his first production of 2018.

“‘Left Eye Left’ was originally intended as a part of my 1989 album, ” the producer explains. “But in myriad of demos I had for the album it got lost in the finishing process. I rediscovered the demo just before my Eiffel Tower set, and decided it was a fitting ode to the city of love, so it was included in my set. The reactions on the piece where so overwhelming, the only right thing to do was to release it.”

Though the track’s appeared in Kölsch’s sets, it was recently premiered by Pete Tong, and now its proper release cements his stance as an emotive vanguard of contemporary dance.

Music Review: John Tejada – Dead Start Program

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John Tejada

Dead Start Program

[Kompakt; 2018]

Rating: 3.5/5

John Tejada’s Dead Start Program is something of an entry-level electronic myth-busting event. That’s no criticism, surely: Tejada has arranged precisely the kind of programmatic tech-house concerto that rockist critics abhor, without falling into any of the genre’s (perceived) trappings. Just a quick glance at the record’s title underscores that Dead Start Program is a reflexively point-counterpoint endeavor.

Q: Dead?
A: Live. Remarkably organic, even. Navigating the antiseptic old-school sound of mid-90s Logic Pro synthesizers and Richard D. James’s back catalog but injecting the paradigmatic aesthetic with humor in the Hippocratic sense — one highlight is even titled “Heal.” Admittedly, Tejada’s process is closer to transmutation: the assortment of sonic widgets on “Detector” progressively engages, spins, bends, assembles, and disassembles as Tejada breathes energy into the golem track’s strobing sequences. And the dystopic dancefloor on “Hypocondriac” pulses a circadian rhythm that draws the chaos-generated butterfly wings of Lorenz’s strange attractor — life out of the void (THV VBHV).

Q: Start?
A: End. Or lack thereof — of either beginning or end. Rather, every point expresses linear movement, but that’s deceptive. Like 3-manifolds, the small enough observer perceives Euclidean space where in reality there’s only boundlessness. Sure, tracks may start out modest and swell and falter and swell and falter and swell and falter and… that’s just the point: the sonic matrix is cyclical itself. On “Autoseek,” it is torus-shaped; “Telemetry” is a non-Euclidean assembly line. We’re talking about peculiar linearity and non-linear peculiarity — “start” and “end” are meaningless, or unimportant.

Q: Program?
A: Chaos. Ordered chaos; non-random movement, yet unpredictable outcomes. Think: a synchronized swimming routine is minutely different each time it’s performed — likewise tech-house. Record cuts, therefore, are but snapshots of inherently unstable ideas. Yet Tejada’s sequences are, in addition, internally effervescent, shimmering; every loop traces a cycle whose shape only becomes clearer with each repetition — again, the butterfly. “The Looping Generation,” for one, replicates the orchestrated anarchy of non-linear bio-trajectories: sonic arrays in disarray, then ordered to reorder.

Dead Start Program isn’t revolutionary, but its dynamism methodically subverts the formulaic expectations enumerated in the record’s title: at worst, it’s helpfully rudimentary and nonetheless a comfortable addition to the Kompakt canon of oblique club-scene rearticulations.

Gas to unleash new “composition” Rausch this May on Kompakt

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• One is one seventeenth of 17.

• Wolfgang Voigt released Pop, his fourth album under the name GAS, on March 28, 2000. His next and most recent, Narkopop, was released on April 21, 2017.

• A NEW GAS album, Rausch, is going to be released on May 18, 2018, barely a year after Narkopop.

Like most albums released after long public absences, Narkopop was greeted like a gift. (And like only a few of its long-awaited peers, the glow of its immediate reception has not dimmed.)

The announcement of Rausch is, in a lot of respects, more surprising than Narkopop was after more than a decade and a half of dormancy. Does the short interval between Narkopop and Rausch signify a return to the same pace? Or could Rausch, however it sounds and whatever its reception, be followed by another decade-plus gap? Will GAS settle into existence as just another artist releasing albums at regular intervals? If so, will the project’s sense of mystique dissipate? What were the components of that mystique — how much came from GAS’ intoxicating sense of aesthetic unity, and how much simply from the lionizing chatter that ensues when an artist retires at their peak?

All of Voigt’s GAS-acknowledged GAS-releases (not including the self-titled album and first EP, which were not included in the GAS BOX of a couple years back, and which Voigt does not seem to consider a part of the project any longer) have possessed subtle but distinct differences from each other; and so it looks to go with Rausch. Although the forest imagery on the cover remains, the details so far released about Rausch take pains to call it not simply an album, but a “composition,” a unified work.

All of the prior GAS albums make the most sense as front-to-back listens (and most of them have even historically had differences between their CD and vinyl editions), but this time the difference is clearer: the vinyl will have only four tracks, A,B,C,D, divided by side; while the CD and digital version will have seven, and their listings in Kompakt’s press release come with the following note: “all formats contain the same version of Rausch. The album is meant to be heard from beginning to end as a whole. It has been track marked or separated due to format restrictions.”

The release also includes the following poem:

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there’s nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles is gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist /Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

There will be a live premiere of Rausch in Cologne at the Köln Philharmonie on May 9, followed by a global tour. The album is pre-order-able now from Kompakt, and its announcement also comes with a trailer, which you can watch below. The trailer also includes a number of tour dates leading up to and following the premiere and release of Rausch, which you can ALSO read below. Because, frankly, I can’t type one more sentence. I’m totally gassed.

Rausch tracklisting:

CD / Digital*:
01. Rausch 1
02. Rausch 2
03. Rausch 3
04. Rausch 4
05. Rausch 5
06. Rausch 6
07. Rausch 7

A. Rausch A
B. Rausch B
C. Rausch C
D. Rausch D

* All formats contain the full version of Rausch. The album is meant to be heard from beginning to end as a whole. It has been track marked or separated due to format restrictions.

GAS dates:

03.20.18 – New York, NY – Elsewhere
03.23.18 – Knoxville, TN – Big Ears Festival
03.25.18 – Washington, D.C. – Sixth & I
03.26.18 – Philadelphia, PA – Union Transfer
03.27.18 – Montreal, Canada – Rialto Theatre
03.29.18 – Chicago, IL – The Art Institute
04.06.18 – Istanbul, Turkey – Sonar Festival
05.09.18 – Köln, Germany – Köln Philhormonie
05.19.18 – Kiev, Ukraine – Strichka Festival