‘Glass Jelly’, the second single taken from Dauwd’s forthcoming LP “Theory of Colours”, is out now on Ninja Tune imprint Technicolour. Not unlike the rest of the album, whose sonic themes were constructed under the notion of restriction and the freedom found through establishing intentional limits, ‘Glass Jelly’, with its tight, barely-there baseline and consistent breaks sprinkled throughout, is intentionally minimal yet strikingly loose. Nearly shimmering at moments, the track subtly builds on itself; its pingy synths ricochet like remnants in the background and its distorted melody recalls both hazy early 90’s Chicago basements and the tubey, lo-fi house sound that’s broken through as of late. At its core, ‘Glass Jelly’ easily transcends both and instead embodies the title itself — a fluidly sharp and discerning tune that sticks out among a collection of already stellar tracks featured on “Theory of Colours”.
1. Macadam Therapy
4. Glass Jelly
5. Analogische Memories
7. Theory of Colours
Get it here: http://dauwd.lnk.to/toc
These days, to leave even the briefest of imprints on the ever-increasingly saturated orbit of dance music can be considered a feat in itself. To make a lasting mark, however, one that manages to cut through the onslaught of new music and artist profiles on spotlight each day, is another accomplishment entirely. Cue Dauwd, the US-born, Wales-raised artist who’s been releasing music for nearly 6 years on such noted labels as Ghostly International and Kompakt, and whose debut album “Theory of Colours” will be released via Ninja Tune imprint Technicolour on June 2nd 2017.
An integral member of the Berlin night and radio show African Acid Is The Future, Dauwd Al Hilali’s releases have been met with as much expectation as they have intrigue. Spending the last few years out of the limelight and in his Berlin studio, Dauwd’s music has continued to ripple through clubs as his singular, sometimes thrillingly uncertain process of experimentation has continued. Pulling inspiration from electronic music legends like Terry Riley, Raymond Scott, and the seminal Radiophonic Workshop period in the late 50’s and 60’s, “Theory of Colours” draws a unique line between influences as disparate as hazy Detroit house and early German Krautrock.
A skilled musical engineer, Dauwd’s ability to balance between such sprawling genres is, paradoxically, an exercise in restriction, finding creative freedom in limiting his own gear. It’s clear he’s no stranger to focus; sonically, “Theory of Colours” runs tightly wound, its loops intentional and layers meticulously built. Spanning a succinct forty minutes across seven tracks, Dauwd’s fondness for delays and love for vintage synthesizers characterize much of the album, which was recorded over the course of a year primarily in the Utrecht based Sonar Traffic studio that houses one of the largest collections of vintage synths and other modular equipment in all of Europe. The result is an intricate, scintillating journey that hovers between familiar and strange. For many artists, that enigmatic gap is one that’s anxiously avoided — the fear of misidentity as a musician more important than the music itself. Throughout “Theory of Colours”, it’s a space Dauwd comfortably renders as his own.
1. Macadam Therapy
4. Glass Jelly
5. Analogische Memories
7. Theory of Colours
Tour Dates: http://www.songkick.com/artists/1466731-dauwd
Ólafur Arnalds and Janus Rasmussen release exclusive 12” for Record Store Day 2015 featuring remixes by Dauwd and Lubomyr Melnyk.
After releasing their debut album of unique Nordic electronic sounds in late 2014, Kiasmos – made up of Ólafur Arnalds and Janus Rasmussen – return with a special 3-track EP featuring album highlight ‘Looped’ and remixes of album tracks ‘Held’ and ‘Burnt’.
Made in Ólafur’s newly build studio in Reykjavík, Iceland, the title track ‘Looped’ was recorded using acoustic instruments next to a variety of synthesizers, drum machines and tape delays. It also features Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable tune.
UK electronic producer Dauwd (Kompakt/Ghostly), who Kiasmos specially selected to perform at their sold out London album release show as well as remix their track, has crafted a chilled club version of ‘Held’. Whilst Ukrainian pianist and fellow Erased Tapes artist Lubomyr Melnyk has created a unique re-interpretation of ‘Burnt’ in his signature “Continuous Music” mode, performed on two pianos.
“It was an honour to be asked to remix an artist for Erased Tapes. Both the label and the artists I admire. And it was such a pleasure to work with the source material from Kiasmos. The parts had so much texture and warmth that working with them in my own space was quite inspiring. I tried to respond impulsively to the parts and allow anything to happen. I think I achieved something with a balance of the original vibe and looking in another direction.” – Dauwd
“I really enjoy the music of Ólafur and Janus. And this was a wonderful opportunity to take their theme for ‘Burnt’ and turn it into some Continuous Piano. A tiny new cadence crept into the piece. And that this is on vinyl with 24-bit sound is all the better!” – Lubomyr Melnyk
“We were very excited to get two of our favourite active musicians to do these remixes for us. Lubomyr providing a very special and unique rework with his double piano recording and Dauwd with a great dance centered remix. Both musicians brought out very interesting things in the originals that we had even missed ourselves.” – Kiasmos
The ‘Looped EP’ will be released by Erased Tapes on April 18th as a Ltd. Edition 12” – exclusively for Record Store Day 2015
For much of the Brooklyn duo’s career, Beacon has worked with a kind of effervescent, forward-looking R&B that evokes out-of-body experiences, but with their new L1 EP, the music is anchored assuredly to your flesh, bone, and physical senses. The brawny synth timbres which open lead track “Fault Lines” and the stomping beats bolstering gauzy falsettos on confident songs like “Minor Structures” set the tone for a new phase in Beacon’s evolution, one geared toward the movements and magnetism of human bodies. As producer Jacob Gossett puts it, “Our records have often been described as moments after the night has given way, a ‘comedown after the club.’ Hopefully, this record inspires people to go back out for one more.”
Dauwd transforms the “brawny synth” of Beacon’s track “Fault Lines” into a rolling melodic house track that loses none of the allure and power of the original. Being a huge fan of Ghostly artists Com Truise, Mathew Dear and Gold Panda already, his choice to release on the label after the creative silence from the producer between 2011 and 2013 was certainly fitting. It also marked a shift in his production from the garage leaning beats of his early days to a more mature 4/4 beat, something that is evident in the ‘Fault Lines’ remix.
Dauwd was born in the US but spent most of his formative years in rural Wales. The detached upbringing “was a drawback and a blessing” says Dauwd. He creates music with complexity most contemporary producers shy away from. Found sounds are thickly laden over multi-timbred synths. Vocal and instrumental stabs punctuate organic and evolving passages guided always by driving percussion and immaculate low-end production. His productions are full and intricate with a wealth of sounds building warm atmospheres that are unusual within dance music.
Beacon will set off on a North American tour later this month. A full run of dates can be found below.
01.22 Portland, OR @ HOLOCENE
01.23 Seattle, WA @ BARBOZA
01.24 Vancouver, BC @ ELECTRIC OWL
01.25 Spokane, WA @ THE BARLETT
01.28 San Francisco, CA @ RICKSHAW STOP
01.30 Los Angeles, CA @ THE ECHO
01.31 San Diego, CA @ CASBAH
02.12 Allston, MA @ GREAT SCOTT
02.14 Brooklyn, NY @ BABY’S ALL RIGHT
02.19 Washington, DC @ DC9
02.20.14 Philadelphia, PA @ BOOT & SADDLE