Category Archives: stream
“Follow” is the story of two people stuck in an endless cycle of falling in and out of love with each other at the wrong time. This feeling gets picked up by Remixer Max Manie. His idea was to underline the mood of the original song in a different progressive way including trippy and spacy synths – like flying around in a spaceship until we fall!
Following the release of Masters At Work/KenLou remixes of ‘Antigravity Love’, the A-list versions keep flowing. Crosstown Rebels announce the full remix roll-call of tracks from Krust’s critically acclaimed new album ‘Edge Of Everything’. Interpretations from Four Tet, Damian Lazarus, Batu, Calibre, LCY and Flynn are forthcoming across two remix EPs in the coming weeks.
Sparkling like melodic stars, Four Tet’s remix of ‘Negative Returns’ is available now to download and stream. This remix packs a deceptively heavy punch, maintaining the original’s hurtling velocity, fuelled by a huge sub-bass engine. “This is the first D&B track I’ve ever made! It felt good to do something out of my comfort zone”, says the much-loved DJ and producer also known as Kieran Hebden.
The spiralling beat-and-bass science of Batu’s version takes ‘Space Oddity’ and deconstructs it like a cubist portrait, matching Krust himself in pure outside-the-box original expression.
Crosstown Rebels boss Damian Lazarus maintains Krust’s epic adventure narrative, retelling the tale in his own words, taking recognisable parts from the original and transposing them into a groovy cosmic house odyssey.
Fellow D&B don Calibre turns ‘It’s A Lot’ into a warm, glowing two-step roller with serrated analogue bass and a subtly masterful musicality, befitting of his classical training.
Rising new school queen LCY is clearly a kindred spirit, rivalling Krust with her future-facing breakbeat science that’s equally as compelling and inventive as the original, but also totally unique.
Rounding off the remixes with a rugged halftime head-nodder and bringing things full circle is Krust’s brother Flynn; a fellow member of 1989 ‘Wishing On A Star’ hitmakers Fresh 4 alongside Krust – and also a jungle legend in his own right – as half of veteran duo Flynn & Flora.
With such inspiring source material, it’s unsurprising that all of the remixers have brought their best game to this impeccable collection.
Johnny Jewel presents AFTER DARK 3. Digital Download Available Here: https://italiansdoitbetter.com/product/various-artist-after-dark-3/
Space and time both play a role in pølaroit’s music. A felt connection to Jonas and Marius’ hometowns in Northern Germany, their geography, as well as a sense of pertaining to a specific instant in time, a generation, are both expressed in the duo’s strain of melodic deep house, “We see our music as a snapshot of time and music,” they say. The chosen name for the duo, pølaroit, is a reference to this idea of capturing a moment and it tributes both their northern roots (Polar) as well as the birthplace of techno (Detroit).
Jonas and Marius, both in their mid-twenties, grew up near Hanover – yet it was only in 2018 that they crossed paths for the first time. Prior to that, Jonas had been developing his own work as a pianist, influenced by neo-classical artists such as Nils Frahm and Olafur Arnalds as well as scoring pieces for film and advertisement. Marius on the other hand, who had been playing the drums since a young boy, started his musical path at sixteen deeply influenced by his interest in percussion and the urban electronic music scene of the time. When both met at a Christmas market in Hanover, after one too many cups of glühwein, they set a studio date just for fun. From that first day it became immediately clear to both that Jonas’ melancholic piano melodies weaved themselves seamlessly to Marius buoyant beats, and that there was more than just “fun” happening in the alchemy of their sounds, “after a few hours only, the first draft of our track Firøye was born and we recognized that we worked pretty well together,” says pølaroit.
pølaroit’s debut EP, ‘expedition into’ (out via Stil vor Talent) defined the duo’s moody sound somewhere in between melancholic downtempo and uplifting melodies, and captivated audiences around Germany. Their current EP, Pure, released via Christian Löffler’s Ki Records, continues to draw on the dichotomy of these two emotions but this time around there’s a bigger sense of presence and liveliness. Through the use of field recordings and vocals, pølaroit wants to rescue the human and organic element of creativity in their music, “Sometimes it’s just a recording of rumbling leaves or organic textures that make the sound more tangible.”
The idea of restoring the tangible in Pure stemmed from a desire to stand in contrast to the highly- produced and perfected aesthetics of the generation pølaroit belongs to. It also explains the duo’s adoption by Ki Records, a label focused on electronic acts such as Janus Rasmussen and Löffler himself who are known for incorporating an organic finish into otherwise hard-electro, “We love the imperfect, human touch and want to transport this feeling into electronic music,” says Jonas, “We recognised that everything gets faster and faster in our society, and that there is a certain perfectionism floating in our generation. That is not the way we see our music, we want to be more and more in the moment when creating,” adds Marius.
The EP’s track Underwater encompasses the desire for honesty by the use of a detuned piano, while the sound of waves that is heard throughout Cala calls forth a natural and earthly force. The title track, Pure features field recordings of a brick smashing against a wall – with it the veneer of perfection is also shattered. Their interest in “keeping things real” also informs the gear the duo chooses to work with – mainly analog synths and tape machines – as well as, of course, their collaboration with singers Luna Morgenstern on Perfect Strangers and Margret on Underwater who add warmth and intimacy to tracks through their voices. Their quest for an authentic, unreproducible sound is also the reason why playing live is an important part of pølaroit’s act.
Through five incredibly catchy tracks, Pure is an EP which evokes nostalgia. The longing expressed through whimsical melodies and a full-bodied bass calls forth a time when things weren’t always polished or airbrushed. Such an approach has uncovered the magic at the heart of pølaroit’s music and what makes this enigmatic, astute duo so very special; their ability to create a mature and contemporary sound that retains purity.
Released October 23, 2020 on Ki Records.
With a strong reputation as an accomplished artist who sits confidently in the underground retaining his kudos, whilst simultaneously releasing crossover hits, German producer and DJ Marco Niemerski, better known as Tensnake, has a proven track record. With over 70 Million combined steams of his work to date, he is one of the most acclaimed international house producers of the last decade.
Having remixed a who’s who of the world’s best-known pop talent including Dua Lipa, Aloe Blacc, Lana Del Rey, Azari & III, Pet Shop Boys, London Grammar and Duke Dumont, and working with three-time Grammy winner Stuart Price, Nile Rodgers, Jamie Lidell and MNEK amongst many others, he returns with his second studio album entitled L.A. named after the city that until recently he called home.
“The city and all its aspects had a huge influence on this music,” says Marco. “You see the Pacific Ocean coming up and you get all those sunsets. Amazing food, hiking, your first earthquake! And also, the craziness about it.”
Composed of 14 very distinct tracks with a wide array of feelings from L.A.’s upbeat party-loving craziness, to the bittersweet emotions triggered as a result of a 6-year relationship and breakup with then partner and album
vocalist Fiora. This album showcases his outstanding and refined production range incorporating the distinct elements of house, funk, disco and 80s boogie alongside the added and very strong L.A. pop influence.
“L.A. is to pop music what Berlin is to Electronic Club Music. I wanted to put an album together that focused on songs and pop rather than on club tracks, L.A. was the right place to make it happen at that time”.
L.A. is a progression from his debut 2014 album Glow. With a steady stream of featured vocalists bringing extra dimension, this is everything that you would want from the accomplished producer, oozing smooth production,
signature big vocal moments, and retro synth lines.
The last 6 months has seen Tensnake release five standout singles including ‘Automatic’ which is a rework of the Pointer Sister’s 1983 soul infused classic.
“It is a cover of one of my all-time favourites ‘80s songs, Fiora and I recorded the vocals while we were working together on my debut album Glow in 2013. I’ve always loved it, even though it did not make it onto my first album. So, seven years later, I gave it a new treatment, and reproduced the music”.
Second single from the album ‘Somebody Else’ features the UK’s Boy Matthews, best-known for his work on Duke Dumont’s gigantic 2015 house hit, ‘Ocean Drive.’ Listen also for ‘Strange without You’ featuring Daramola, a multi Billboard-charting singer/songwriter based out of Miami, and most recently ‘Make You Mine.’ All have received critical acclaim.
Elsewhere, the fluid bassline and clipped guitars that propel ‘Antibodies’ infuse it with a classic French Touch feel. ‘World Beneath’ is probably the most Tensnake-esque thing on the album, a little leftfield and disco infused, and ‘Simpansi’ is a 4/4 instrumental, energetic and designed for the dancefloor.
With many moods and feelings reflected in this album you can hear the diversity in production throughout. In ‘Overnight’ there is a reduced pace, gentle, slower and low-slung feel, as is ‘Nightshift’ and ‘Latching Onto You ft Nazarene’. ‘Rules’ displays a soulful vocal from UK singer Chenai and a classic house feel. ‘Wait It Out’, picks up the pace again with classic house piano stabs and a powerful vocal from the same mystery singer that is featured on “Make You Mine”. Keeping up the momentum of the album and primed for radio is ‘Call Me ft HËXĖ’ with its uplifting UK house vibe.
The album closes, poignantly, with what Marco describes as his most personal track of all – ‘Adam’s Hill,’ a beautiful, hypnotic swoop that feels like it’s made to soundtrack a ruby red sunset. Towards the end of his time
in California, Marco and Fiora went their separate ways. “It’s the last track I made in Los Angeles,” he says. “When I basically had packed all my stuff, left the house and I moved to a place called Adam’s Hill.”
Cataloguing his time spent in L.A., this album is almost a musical diary of Marco’s thoughts and feelings of his time in the city, the highs and lows, documenting a whole life chapter. Now that Marco has returned to Hamburg (Germany), he is ready to release his new body of work, propelling him to the top of the playlist charts and is sure to get well deserved airplay across international radio.
1. Somebody Else ft. Boy Matthews
2. Automatic ft. Fiora
3. Latching Onto You ft. Nazarene
4. Antibodies ft. Cara Melín
5. World Beneath ft. Swedish Red Elephant
6. Overnight ft. Fiora
7. Rules ft. Chenai
8. Make You Mine
10. Nightshift ft. Fiora
11. Strange Without You ft. Daramola
12. Call Me ft. HEXE
13. Wait It Out
14. Adams Hill
Tensnake’s album L.A will be released Oct 16th via True Romance & Armada Music
Grandbrothers have announced details of their third album, ‘All The Unknown’, which is set for January 15th release on City Slang, and have also shared the album’s title track.
On the leafy cover they invite the spectator to peer through the thick foliage of a hawthorn bush, seemingly powered by a similar sense of curiosity that informed this exploratory new record. Ditching the restrictions of their former setup, with their new record the Turkish-German/Swiss duo took a leap into the dense unknown—and landed on their feet.
The album maps out a wide-open soundworld of compositional possibilities for pianist Erol Sarp and producer / electronic engineer Lukas Vogel, who have been putting their modern and unique electronic spin on prepared piano since first forming in 2012. Forgoing the need to play every single note live, this new album sees the pair juxtapose the old and new once again, venturing further into the electronic cosmos armed with a grand piano, self-built computer-controlled mechanics, and a new sense of latitude.
The debut single and title track from the album “All The Unknown” starts out with the clanging percussive piano figures that have danced across Grandbrothers’ previous terrain, but grows with stuttering digital percussion to cast out allusions of classical romance, guided by emotive, cascading keys.
Listen to “All The Unknown”:
Listen closely to this latest album and you can hear an old-school hip-hop beat enmeshed in melodic piano, or feel the cold rush of techno fly past at lightning speed. “We wanted to leave the lovely romantic piano music behind,” explains Sarp, whose affinity with dance music has always been an influence on his writing process. Motifs of club music creep subtly into ‘All The Unknown’’s impeccably textured palette, which nonetheless uses sounds found exclusively within the piano. These sounds and samples are triggered and collected using mechanics built by Vogel and placed inside the piano, then extracted, processed and shaped beyond their original identity to create alien beeps, beats and tones. Melded these with the organic piano sounds is what fuels Grandbrothers’ creativity.
Sarp and Vogel met nearly a decade ago while studying audio and video engineering in Düsseldorf. Conceiving a project that would draw on Sarp’s piano skills while also providing a piano part for Vogel through bespoke programming and mechanical apparatus, Grandbrothers was formed. They brought their vision to life with debut album ‘Dilation’ in 2015, followed by the majestic ‘Open’; a swirling fusion of electronica and classical piano, which was released on City Slang in 2017. These days, with the pair no longer both residing in Düsseldorf, they have forged a new remote working relationship that involves a lot of back and forth and more time spent on developing ideas and producing. This new album documents that process.
“The main difference compared to the last two albums, is that we set ourselves a rule that everything needed to be created on the instrument in that moment” explains Vogel. “But now that this rule is gone, we’ve started to produce or record things on the computer which means we can stack up more layers” Sarp surmises. “Previously, it has always just been me sitting at the piano playing, but now we have three or four piano parts together, which I wouldn’t be able to play at once as it’s too many notes; it just wouldn’t be possible as I only have ten fingers. This new method has opened up worlds and given so many more opportunities to write music.”
‘All The Unknown’ will be released on January 15th 2021 via City Slang. Pre-order and streaming options can be found here: https://grandbrothers.lnk.to/AllTheUnknown
‘All The Unknown’ track list:
2. What We See
4. All the Unknown (YouTube)
5. The Goat Paradox
6. Four Rivers
11. Black Frost
13. Mourning Express
Videosphere, the debut album by Kompakt’s latest signing, the London-based artist Lake Turner (aka Andrew Halford), swoons into focus with “The Sunbird”, a teasing drift of lilting, ambient tones, riding out a submerged piston-pulse rhythm. Across its brief 109 seconds, it manages to traverse evocative terrain – something mythopoetic, something both humble and grandiose, a glimpse of the other behind the sky’s curtain. “I wanted to conjure up something resembling an ancient ceremony or death procession,” Turner nods. “Like a hymn to the surroundings of a faraway hill.” It’s both sky-bound and earthen, a ritual incantation to call in the music of the spheres.
Turner was introduced to the Kompakt family by his sometime collaborator Yannis Philippakis of Foals. He’d previously made music in post-punk and indie groups Great Eskimo Hoax and Trophy Wife, but Videosphere is the first time he’s fully articulated his own vision of electronic music, aside from one limited lathe-cut 12”, 2018’s Prime Mover EP, on Algebra. The lush ambient-disco-techno dreams of Videosphere were constructed and completed in his London studio and at his parents’ arable and sheep farm in Worcestershire, which might help explain the hazy, unhurried pastoralism of the album.
“There was a slight bittersweetness in finishing the record (in Worcestershire) as my parents were in the middle of selling my childhood home,” he sighs, before quipping, “on the plus, I ended up shearing a lot of sheep over the summer.” A student of archaeology and ancient history, Turner is no doubt carefully attuned to the twisting cogs of history and memory, and it’s no surprise that Videosphere has a nostalgic, melancholic cast; much of its beauty rests in the way it tugs, gently, at the heart strings – see the tear-stained cheeks of the lush, dappled “Honeycomb”, or the sweetly sad electro-roundelay of “No Way Back Forever.”
It’s not all drift-dream hypnosis, though – Videosphere is very much grounded in the now. ““No Way Back Forever” is a nod to the linear nature of time,” Turner explains by way of example, “and the tipping point of the world climate crisis that scientists have now declared.” Jayne Powell’s vocals are sent spinning through the song, wound like candyfloss; she takes centre stage on the techno hymnal title track, too. Throughout, there’s a sense of forward movement, despite the life stasis we find ourselves collectively bound by in mid-2020; there’s also a yearning for the communal, for community, that’s captured in the album title, a nod to an object Turner encountered at London’s Geoffrey Museum, “a television set in the shape of a spaceman’s helmet from the 1970s.”
“The vision I loosely had was to make an electronic record that had a communal warmth and almost ceremonial or ritual feel. I wanted to examine the relationship of our archaic minds in the trappings of the modern world,” Turner concludes. “What the Videosphere also symbolizes for me is the oneness of humanity and community, prevailing.”
Out 23 October 2020 on Kompakt Records – pre-order: https://kompakt.fm/releases/videosphere