New York duo Cults share a Mike Simonetti remix of the title track to their 2017 album ‘Offering.’
‘Meridian’ is the third single off Rohne’s upcoming album ‘Meridian’ to be released on September 28th. You can pre-save, pre-add, or pre-order the album here: smarturl.it/xku7eb
Originating from the mountains of the Pacific Northwest, electronic producer Rohne (Keenan Branch) has spent recent years honing his craft while traveling the world with a laptop, headphones, and field recorder. The culmination of ideas and inspirations captured at his home studio, mobile set ups in India, and places in-between, now lead to the release of his debut work Meridian. The album represents the blooming of a bond between Rohne, his art, and the world around him. Drawing influences from a wide range of genres, lush, organic and ethereal sounds, Rohne’s nuanced style of electronic music is an intimate and immersive experience all its own.
Taken from Tom Demac and Real Lies debut EP on Kompakt (out Sept 14). Buy here.
Listen to Christopher Port’s remix of Flight Facilities’ ‘All Your Love’.
The second single of David’s new album „D’Angelo“ coming on October 5th via [PIAS].
‘Bells’, taken from Phil France’s ‘Circle’ album. Buy/stream: https://gondwana-records.lnk.to/bYsPwID
Originally from West Yorkshire, but now resident in Manchester, composer, bassist and producer Phil France is probably best known as a key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, where he co-wrote, arranged and produced on classic albums including Everyday, Man With The Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary. In 2013 France released his debut solo album, The Swimmer (GOND016), an emotive, epic record influenced by the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass
Five years later, France presents the follow up, the enigmatically titled, Circle, which again represents a very personal journey for the artist. For France the album is an extension of work he began on The Swimmer. A process he has described as: ” blocks of sound containing intricate minimal arpeggiated patterns and electronic textures that develop and shift in subtle, original and melodic ways. The trancelike quality, mood and electronic character of title track Circle led France to think of the circular patterns which eventually became a potent concept for the album. “Ideas and fashions repeat themselves in cycles. Events are said to travel ‘full circle’ and this is important to me because it represents my own recent personal and musical journey after 15 years touring as bassist and composer with The Cinematic Orchestra. I consider circles to be a strong symbol of unity, strength and inclusiveness and ultimately I’ve aspired to make something beautiful with those values at its heart”.
The album opens with the title track, Circle, built on a minimal looped pattern with melodic embellishment and shifting additional harmonic textures. Bells was developed from the arpeggiator and offers a nod to the melodicism and atmosphere of French electronic music. The Jackal features an idea originally developed for The Crimson Wing score but which finally bears fruit here. Cathedrals features an improvised intro, Philip Glass inspired organ and vocal textures inspired by the work of Colin Stetson. Finally, the album ends with a reprise of Circle this time featuring layered pianos. But it isn’t the conclusion of the journey, for France: “The Circle is infinite – During the process of making this record, I have been constantly reminded that nothing ever stays the same and that all is in constant flux. The challenge for me is always to respond positively, be aware of and seize the opportunity for progression constant change provides” And it is that sense of movement and flow, but also calm and beauty that permeates Circle and make it such a worthy successor to The Swimmer.
Reunited brothers Paul and Phil Hartnoll drop new track ‘End is Nigh’ from their upcoming LP ‘Monsters Exist’ out Sept 14. This follows singles ‘Tiny Foldable Cities’, ‘P.H.U.K.’ (via COS Origins) and Steve Dub’s remix ‘P.H.U.K.U’ (via Mixmag).
The accompanying video for “End is Nigh” illustrates our subjective view of the world from doom mongering to a rose-tinted escape from reality.
Felix Green (director) explains:
“For this music video I wanted to take the phrase “The End Is Nigh” and look at it as a timeless expression. Humanity has been predicting the end of civilisation since the beginning of civilisation. The solar eclipse of May 1st 1185, for example, was documented as being a message from God prophesying trouble. “The End is Nigh” is certainly making a comeback in today’s vernacular, mainly due to the seemingly imminent dangers we face from climate change and our reckless leaders (the Doomsday clock in 2018 currently sits at 2 minutes to midnight).”
Paul Hartnoll adds:
“It’s a fab slice of techno folk horror. The beautiful people are looking for meaning in nature but can it really be found? When they think they have it they run towards an idea with an unknowable conclusion, charging with gay abandon towards a drop that means certain doom. Can an ideal be pursued at any cost? The end is nigh for some who run towards the unknown …”
‘Monsters Exist’ is a more classically structured Orbital album than their previous release ‘Wonky’, drawing inspiration from the international political landscape all the way back from Paul and Phil’s pre-rave squat-punk roots right up to the volatile tensions and erratic rhetoric of today.
Marie Davidson’s new album turns the mirror on herself. “Working Class Woman” – released on 5th October on Ninja Tune – is the Montreal-based producer’s fourth and most self-reflective record: it’s a document of her state of mind, of operating within the spheres of dance music and club culture. Drawing on those experiences, as well as an array of writers, thinkers and filmmakers who’ve influenced her, Davidson’s response to such difficult moments is to explore her own reaction to them and poke fun. “It comes from my brain, through my own experiences: the suffering and the humour, the fun and the darkness to be Marie Davidson.” It’s an honest document of where she currently stands. As she puts it,“It’s an egotistical album – and I’m okay with that.”
The sound of “Working Class Woman” is more direct than any of her previous outings. She still mines the same influences, from Italo Disco, to proto-industrial and electro, but leadens them with a gut-punching weight, making for a record that’s more visceral than any she’s released before. Industrial heaviness is balanced by Davidson’s spoken text – rather than spoken word, which she sees as a distinct tradition – dark, textured soundscapes are counterweighted by statements that carry a more darkly humourous edge than before, making observations on both aspects of club culture as well as more oblique critiques of the modern world. It’s something that’s encapsulated in the driving momentum of lead single ‘So Right’, released alongside a remix from John Talabot: it matches pared back lyrics with a melodic bassline and bright synths, her words sketching out a euphoric feeling that chimes with the music.
Maribou State announce the first in a series of remixes and reworks of their forthcoming album “Kingdoms In Colour”, out today, September 7th on Counter Records.
Released now, Maceo Plex takes on recent single “Nervous Tics” featuring Holly Walker on vocals. The remix – perfected in between road testing on dancefloors in London, Dekmantel Festival and beyond – sees the veteran producer draw on the electro influences that have inspired much of his prolific – nearly two decade long – career. “When I got sent the parts I instantly could hear the vocal over a cool breaks track. Soon as I laid it over the breakbeat it pretty much wrote itself.”
Keep an eye out for Maribou State North American shows to be announced in the near future.
One of the most hotly-tipped leaders of the new school, Uone follows in the footsteps of Kölsch, Patrice Baumel, and Darius Syrossian to deliver a stunning two-part mix for the Balance Series that was two-and-a-half years in the making, and is composed entirely of his own material.
Not limited by boundaries, nor borders, Uone truly is a global citizen. Having spent more than a decade living a nomadic existence, he has soaked up an array of influences and cultures whilst searching the globe for the best parties and most inspiring, like-minded folk along the way.
His career has naturally ascended in this period, highlighted by appearances at Burning Man’s Robot Heart Stage, Fusion Festival, Oregon Eclipse, Secret Garden Party and Boom, all being an integral part of his journey. His production profile continues to rise as well, with releases on labels like Stil Vor Talent, Sol Selectas, Katermukke and his own imprint Beat & Path consistently showing his ability for creating classy, hypnotic slices of deep house and techno.
For his superb debut for Balance, he’s distilled these globe-trotting experiences into a two-part mix, that bears his distinctive sonic fingerprint throughout the 21-track work. Indeed, every track comes from Uone’s production studio, whether it be an original, remix, or collaboration, this sees him going above and beyond the usual mix CD remit to create something truly special. The Balance compilation series also provided an important formative touchstone in his musical education, with his inclusion in the cannon making for a pleasing full circle. His twin mixes feature reworks of progressive house and trance classics (PQM, Jam & Spoon) and references to his home country’s thriving scene from his nascent years via his re-work of the highly-revered, once-mighty electronic band, Infusion.
Collaboration is a defining factor here with the majority of the tracks created in partnership with other esteemed producers. “I love the diversified outcome of these deeper explorations with more hands and minds involved” he explains. Uone sees the collaborative process as being equivalent to that of working as part of a band.
“Collaboration is something that I feel has been lost in production with the electronic age. Back in the day the best magic was produced in bands with people coming together and weaving the collective vibe into one sound.”
With this ethos, Uone has mastermind collaborations with the likes of Jay Haze (aka Fuckpony), Adam Freeland, Mihai Popoviciu, Mojo Filter, Jamie Stevens, Jonas Saalbach and Flow & Zeo along the way, making for an acutely diverse melting pot of ideas.
The first disc slowly builds from mystical vocal excursions using organic instrumentation, which eases us in before the metallic bass tones of Animal Kingdom alongside DJ Schwa raises the intensity. The rhythms switch from techno to house as the pumping groove of his and Andreas Henneberg’s remix of Infusion’s Spike A Drink sends the mix into the next gear. Tribal undertones and Junior Vasquez ‘90s flavour creep in on his rework of PQM’s You Are Sleeping with Out of Sorts, with the duo’s second collaboration with Jay Haze on vocals, Bongo Porn, continuing the frenzied theme. The first of two Jam & Spoon reworks, which came about after Uone met the former duo’s Rolf El Mar on an artist transfer at a festival, throbs pleasingly before an excellent remix of Schlepp Geist’s Those Days by Flow & Zeo brings us to an ethereal crescendo.
The second disc aims directly at the dance floor, opening with the brooding power of Uone & Danny Bonnici’s remix of Luke Chable’s classic The Shepherd. The Jonas Saalbach collaboration Long Sunny Dazze follows, the hazy synth chords add an understated touch of mystery and euphoria. Majestic vocal turns from Philosophia and Sleeping Genie then breeze in to breathe in evolving emotion to the mix. Bold strings continue to cut through on Good Morning Sunshine with Thankyou City, before the mix drives us towards the epic chants of Uone & Jamie Stevens’ rework of Jam & Spoon’s Odyssey to Anyoona, one of the jewels in the crown of this mix. A wonderful remix of Monolink’s Sirens completes the journey, with its mesmerising indie-dance energy a fitting closer.
With such a lofty bar set by his Balance predecessors, Uone’s challenge of delivering something memorable required a deep creative undertaking and his trademark alchemical touch in the studio. He’s delivered in spades with a deeply personal mix packed with exclusive cuts that transports your mind to another plane entirely.
Uone, Adam Freeland, Mojo Filter & Jamie Stevens — After the Blood Moon
Uone & Soda Klop — Space Between Love feat. Briony Taylor—Brooks
Uone & Mojo Filter — Mr Mystik
Uone & DJ Schwa — Animal Kingdom
Uone — Silver Magic
Infusion — Spike (Uone & Andreas Henneberg Mix)
Uone & Out of Sorts — You Are Not Sleeping feat. DJ PQM
Uone & Out of Sorts — Bongo Porn feat. Jay Haze
Uone & Out of Sorts — Whole New Way
Jam & Spoon — Be.Angeled feat. Rea (Uone & Out of Sorts Mix)
Schlepp Geist — Those Days (Uone, Flow & Zeo Mix)
Luke Chable presents Quest — The Shepherd (Uone & Danny Bonnici Mix)
Uone — Karnival Dreams
Uone & Jonas Saalbach — Long Sunny Dazze
Uone & Western — Some Kinda Voodoo feat. Philosophia (Balance Rework)
Uone — Sands of Time feat Sleeping Genie
Uone & Thankyou City — Good Morning Sunshine
Uone & Mihai Popoviciu — Escaping the Winter
Uone — The Hawtin Experiment
Jam & Spoon — Odyssey to Anyoona (Uone & Jamie Stevens Mix)
Monolink — Sirens (Uone Mix)