On the 11th August The Invisible will release a special remix EP featuring reworked tracks from their critically acclaimed album “Patience”. Released via Ninja Tune, “Patience” saw the Mercury Prize nominees demonstrate their more uplifting side, giving the listener a sense of the band’s “joy and gratitude” for being alive, with features from Anna Calvi, Sam Shepherd (Floating Points), Connan Mockasin and Rosie Lowe.
This new EP shows 4 tracks from the LP in a different light. ‘Love Me Again’ featuring Anna Calvi is remixed twice, first by London based, Rhythm Section member, Chaos in the CBD and second by fellow Rhythm Section associate, FYI Chris. Warp records duo Darkstar provide a hypnotic remix of ‘So Well’ and finally Milionhands Music label boss, Tee Mango steps up for his “Summer Daze Revision” of ‘K ‘Town Sunset’ featuring Connan Mockasin.
The Invisible – “Patience Remixes” EP is out 11st August 2017 via Ninja Tune.
Earlier this year Nathan Fake released his keenly anticipated fourth album “Providence” to rapturous acclaim. FACT hailed it as “career defining… one of the best electronic albums you’ll hear in 2017” and DJ Mag made it their “Album Of The Month”. On this follow-up “Providence Reworks: Part I” EP, Fake delivers a brand new track ‘Bosky’: “a spiky, but warm and pretty raw Roland/Boss Analord-inspired studio jam with synth autoharp improvisation”; calls on Tessela and Truss (XL, R&S, Perc Trax, Poly Kicks) aka Overmono and Huerco S. (Proibito, Software) to rework album highlight ‘DEGREELESSNESS’ (feat. Prurient) and additionally showcases the talents of Polish composer and multi-instrumentalist Olga Wojciechowska who submits a stunning modern classical interpretation of ‘HoursDaysMonthsSeasons’.
12”/Digital released via Ninja Tune on 11th August on solid white 12” vinyl with beautiful artwork by Matt Bateman (Flat-e).
“Providence Reworks: Part I” Tracklist:
1. DEGREELESSNESS (feat. Prurient) (Overmono Remix)
3. DEGREELESSNESS (feat. Prurient) (Huerco S. Backyard Interpretation)
4. HoursDaysMonthsSeasons (Olga Wojciechowska Rework) [Vinyl Only]
Just in time for Summer’s warm up arrives Romare’s ‘Come Close To Me (Live Session 1)’ a hazy, pulled-apart live edit of the single taken from his 2016 LP Love Songs: Part Two. Along with the track, which rides out like a slow-burning exercise in self-sampling, is a witty, 80’s inspired music video drenched in analog VHS sheen and complete with a blurry Mazda speeding off into a fading dusk. “From our first phone call discussing the concept for ‘Come Closer’ [Come Close To Me’ – Ed]”, says director Greg Barnes “Archie (Romare) and I were on the same page. We both wanted to push the limits of what a performance-based, session style video could be, and it was clear that meant smoke, lasers, and his Mazda.”
The single and video are released today (premiered via Crack) on Ninja Tune, just as Romare prepares for his forthcoming headline show at KOKO on 11th November – his biggest and dare we say most impressive performance to date– which will see him showcase his disco-heavy cuts with a live band in addition to DJ sets by Romare himself and a string of other companions late into the night.
Bicep – the Belfast-born, London-based duo of Matt McBriar and Andy Ferguson – are pleased to announce their self-titled debut album, a record that truly encapsulates their history and the distillation of their passion for music and club culture since their first release in 2010. It will be released on 1st September 2017 via Ninja Tune.
With the announcement, they share lead single (and album closer) ‘Aura’; a complex and propulsive club track that channels their love for all things synth related. Until now, Aura has simply been tagged as ‘Unreleased Bicep’ on countless bootleg recordings from recent gigs with thousands of streams, uploaded by fans trying desperately to ID and get their hands on the track. “It was a happy experiment… you might call it an accident,” they explain. “We’d been playing with this specific and very complicated gear-chain for a while but nothing worked, or didn’t feel musical enough… then it all just fell into place and ‘Aura’ appeared.”
Bicep are first and foremost music lovers with a deep-rooted knowledge and passion for music of all varieties. Having been introduced to electronic music through the likes of Aphex Twin and Laurent Garnier, they started digging deeper into IDM, italo, techno, electro, jungle & everything in between.
Over the span of their 10-year career, they have celebrated the music that inspires them via their Feelmybicep blog, initially an outlet for, and now a contributing factor to, their intense record collecting habit. Founded in 2008, its runaway success (it now sees over 100,000 visitors a month) spawned a record label of the same name, a club night, and took the duo out of the UK and embedded them on the international stage via highly sought after DJ sets that reflected the eclecticism celebrated on their blog – an impeccably curated blend of upfront tracks and exclusive edits mixed with deep-dug house and disco cuts (rediscovered, dusted off and given a new lease of life). Accordingly they are venerated as trusted and esteemed curators in electronic music today.
Cutting their production teeth with releases on Throne Of Blood, Traveller Records, Mystery Meat and Love Fever, Will Saul then snapped up the duo for a string of releases on his Aus Music imprint, including the now certified classic “Just EP” bearing the dazzling and ubiquitous title track that became the undisputed club track of 2015 and earned Bicep both Mixmag and DJ Mag’s ‘Track of the Year’. The duo have also collaborated with another trailblazing UK duo Simian Mobile Disco and remixed for the likes of Disclosure, Blood Orange and 808 State.
The formidable DJs (#8 in Resident Advisor’s 2016 poll) have toured the world over, curating and selling out a long list of Feel My Bicep parties including Manchester Warehouse Project, a 12-week residency at XOYO and their annual Italo Disco parties.
In 2016 Andy and Matt built and tested a roof-raising live show – a powerful counterpoint to their much loved DJ sets that not only highlights the breadth and depth of the Bicep discography, brings to the fore both their skilful production and formidable engineering chops, but again reinforces their genius curatorial flair. Earlier this year they took Coachella and Primavera festivals by storm and sold out their recent London show at Village Underground in 3 minutes flat. Following the album’s release, they’ll embark on an extensive live headline world tour including a stop at Electric Brixton in London.
The album “Bicep” is the perfect summation of the duo’s career to date – it’s a sonic tour of their history touching the cornerstones of underground club culture. Matt and Andy have pulled off the rarest of feats, to make a singularly unique electronic record founded on the blueprint of classic house, techno, electro and Italo disco, but flipped and morphed into a fresh design bearing the unique Bicep sonic signature. It’s a perfectly succinct album: loose, raw and energetic enough for the dancefloor, yet refined, artfully composed and contemplative enough for home listening.
Their spirited, daring approach brings them into the Ninja Tune fold. “For us it’s important to be part of a label that looks broadly at music,” Matt says. “We felt no restrictions at Ninja to be pigeonholed,” continues Andy. Displaying a theme of technical experimentalism and a deft melodic touch which runs throughout the entire record, it’s this openness and no-rules approach to music making which has allowed Bicep to establish a unique position all their own on an increasingly crowded global dance stage.
Jordan Rakei signs to Ninja Tune and unveils new single ‘Sorceress’. At only 25, the New Zealand born multi-instrumentalist, vocalist and producer is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. ‘Sorceress’, the first single taken from his forthcoming album, sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. “It’s about how the ego can fully control the way you act and perceive life”, he says.
Jordan’s whirlwind rise has been a predominately solo effort. His exceptional musical ability (he writes, sings and plays most of the instrumentation on his records himself) is accompanied by an unrelenting – yet agreeably humble – ambition. His aptitude and knack for songwriting caught the attention of tastemakers following the release of his 2014 EP “Groove Curse”. His self-released debut album “Cloak” (2016) lit the blue touch paper, earning him a coveted set at Pitchfork Avant-Garde Block Party 2016 and supports for the likes of Jamie Woon and NAO. Drawing early support from the Soulection crew, he has collaborated with Taku, Tom Misch, FKJ, and lent vocals to the Disclosure track ‘Masterpiece’ (from their 2015 album “Caracal”) after the duo were tipped off by a friend who had seen Jordan play a tiny basement bar in Australia. He is equally respected by the jazz fraternity – collaborating with United Vibrations (featuring Yussef Dayes of Yussef Kamaal fame), Richard Spaven (Flying Lotus, 4 Hero, José James) and Alfa Mist.
Moving from Australia to London, Jordan met Bradley Zero, founder of South London record label and party Rhythm Section. Bradley encouraged him to try his hand at a collection of dancefloor-driven tunes which became the EP “Joy, Ease, Lightness”, released by the label at the end of 2016 under the alias Dan Kye.
With a recent sold out date at KOKO in London this past April, Jordan has established an incredibly diverse live show that he is set to take on the road in Autumn across the US and Europe.
Having just completed immensely successful tours in Europe and North America in support of his latest acclaimed record Migration, Bonobo has announced a new 3-song EP, out digitally today, featuring an analog version of Migration favorite “Bambro Koyo Ganda,” which heavily features Moroccan by-way- of New York City band Innov Gnawa, and the completely new song “Samurai.” The analog version of “Bambro” strips away the dizzying house-tinged atmosphere in favor of an understated pulse and synthesizer arpeggiations, highlighting the hypnotic chanting and acoustic flavour of Innov Gnawa. Perhaps more than any other tune on the album, ‘Bambro’ sonically embodies what Migration is – a journey through cultural and locational displacement and the strange familiarity that inevitably surfaces out of transient life. “Samurai” is an ecstatic track that was conceived in the same sessions that produced Migration, anchored by a stuttering vocal sample that unspools into a glorious melodic line in classic Bonobo style.
STREAM: “Bambro Koyo Ganda (Analog Version)” feat. Innov Gnawa
Bonobo also previously shared a video for the original version of “Bambro Koyo Ganda” directed by Stylewar, which is available to watch HERE.
Bonobo also recently unveiled an innovative and immersive way to see and hear his album track “Outlier”. Released in collaboration with Horizons Studio for their app on Google’s Daydream platform, Horizons VR, users are sent flying through surreal landscapes and terrains, over mountains and deep into oceans, as you manipulate the music by directing flocks of birds with the Daydream controller and progressing through the various stages of the track via your own movements and actions. As well as the music being fully interactive, the visuals are also fully generated in real-time and malleable, allowing you to carve your path through mountain ranges, control the terrain’s height by simply changing your altitude, or slow down time below the surface of the sea.
Download the Horizons App to discover the “Outlier” Virtual Reality experience here.
Producers Tessela and Truss (R&S, Perc Trax, Poly Kicks), also known as brothers Ed and Tom Russell, once again join forces as Overmono to remix one of the outstanding cuts from Nathan Fake’s fourth album “Providence”, recently released via Ninja Tune. Accordingly, ‘DEGREELESSNESS’ – featuring the heavily distorted vocals of Prurient – is re-imagined as a shadowy four-on-the-floor cut.
“I really wanted Overmono to remix ‘DEGREELESSNESS’ as I love the way they use melody alongside heavy, but kind of abstract techno rhythms.” explains Nathan. “They’ve kept their mix pretty close to the original, but I love the Reece bassline outro”.
Forest Swords, aka Merseyside producer Matthew Barnes, returns with ‘Panic’, the third track to be lifted from forthcoming album “Compassion”, out 5th May via Ninja Tune, and announces headline European and North American live tour dates.
The track journeys between a rumbling cello loop, chiming bells and clattering beat, pulling in a reworked northern soul sample for the track’s ecstatic hook. It is accompanied by a video directed by Barnes and AV collaborator Sam Wiehl, produced by Barnes’ new experimental creative studio Dense Truth.
“Most of the tracks on ’Compassion’ were started in quite a heavy place but all managed to move towards the light the longer I worked on them” says Matthew. “’Panic’ is the point where tension and stress boils over into a sort of euphoria.”
Barnes will be Skype screening, one-on-one, an extended edit of the song and video to a number of people who add him (username: densetruth) over the next two days. It follows an experiment earlier this month where Barnes sent out unreleased tracks to anyone who messaged him personally via Whatsapp.
“I’d been thinking about communication and connections while I was making the record” says Barnes of the experiments, “and ways we can perhaps use all these existing channels in different ways. Social media still feels impersonal and clunky to me, like you’re shouting over a wall at someone, so I wanted to try to connect a bit more directly and see what would happen”.
Forest Swords will tour Europe and North American across September to December, including a headline performance at London’s Village Underground and festival stops at Glastonbury, Field Day, Sonar, Latitude and Dekmantel.
Amidst the waves of praise Bonobo has received both for the release of his latest record Migration and the live tour he and his band have recently embarked on comes a video for the new single ‘Bambro Koyo Ganda’, an expansive track featuring vocals from Moroccan by-way-of New York City band Innov Gnawa. Perhaps more than any other tune on the album, ‘Bambro’ sonically embodies what Migration is – a journey through cultural and locational displacement and the strange familiarity that inevitably surfaces out of transient life. The single (a highlight of the live show) effortlessly weaves Moroccan styles into his signature dance music and culminates in a near-mystical experience as Innov Gnawa’s chants echo over a dizzying, house-driven groove that manages to mesmerize and relinquish in one fell swoop. The video, directed by Stylewar, depicts scenes from around the world that unfold in synchronicity with the track, with the pulse of the environment lining up perfectly, and subtly, with the song’s beat. It reflects the universality and singularity of the world seen through the eyes of a traveller; no matter the disparate location there is a common rhythm.
As Migration was born out of an itinerant phase in Bonobo’s life– a time that saw him touring around his last album The North Borders for nearly three years fixed to no address– it’s only fitting the Migration World Tour is the sort of pinnacle and completion of his journey and one that’s received exuberant praise from all circles. Bonobo and his band will tour through the remainder of the year, with a headline slot at Wilderness Festival, dates at Fuji Rock and Manchester International Festival and a run of new European headline dates just announced, among others. The live show is an event not to be missed and the record, which peaked at #1 on the iTunes Electronic Album charts in over 50 territories and landed within the Top 5 on the main UK album charts, has proved itself to be a touchstone for both Bonobo’s career and to an audience in search of a place to land.
Quote from the Director Stylewar on the video:
“The music of Bonobo is incredibly rich and colorful. It feels as if it was inspired by the indescribable beauty of the natural world. I wanted the video to have an equally inspired and colourful feeling. The world is full of music and rhythm — look carefully and it’s everywhere you go. It’s at the core of our wonderful planet, and I wanted the video to celebrate that fact.”
“The video is a vast collection of material, including some footage shot specifically for this video as well as existing footage from around the world. Then, through the magic of editing, we endeavored to make every movement in the video correspond to the movement of the music, whether to its rhythm or to the very notes themselves. If you look closely, you should notice that the smallest details have been tweaked to sync the music to the movement. Like the music of Bonobo, it celebrates the rhythmic beauty of our world.”
ACTRESS RELEASES SECOND SINGLE ‘DANCING IN THE SMOKE’, FROM FORTHCOMING ALBUM “AZD” (OUT 14TH APRIL ON NINJA TUNE)
As usual, no one can describe Actress’s work better than he can himself. ‘Dancing In The Smoke’ is, he says, concerned with “that moment in the club, in the side room which is less habituated where the music is more diffused from the main club, smoked out and disorientating.” Already you get some sense of the piece, all angular rhythms, woozy synth pads and disembodied vocal refrains. “The DJ has locked on a groove,’ he continues, ‘and you’re there in your own space pulsing with the music. As the different spaces start to merge and turn with the effects of your prescription for the night, that alien cacophony of lasers and tone trip the buzz for a flight into that kind of euphoria that only spacing to the rhythm of the metropolis can bring.”