Sasha and La Fleur to release debut collaboration ‘Förbindelse’ on LNOE
Watch a video of La Fleur playing Förbindelse at Melt!:
Sasha and La Fleur release their much-anticipated collaboration ‘Förbindelse’ on Last Night On Earth. The release also features a solo track from La Fleur.
Sasha’s collaborations with other artists are always driven by mutual respect and admiration for one another’s craft. His LNOE imprint is recognised as a platform to spotlight exciting fresh talent, and he has been supporting La Fleur since her debut on the label in 2015. After the Swedish producer remixed the acclaimed ‘Trigonometry’ for the label head last year along with playing the renowned Last Night On Earth boat party in Miami, fans have hoped further collaboration might be on the cards.
‘When I first approached Sasha to present some music for his label I couldn’t have dreamt he would suggest a collab together!’ La Fleur says.‘It was a great honour to say yes to the challenge. It has taken some time and a lot of drafts going back and forth to end up with this track together, when it just felt right.’
La Fleur’s career has blossomed exponentially over the last few months – from a game-changing back to back set with Cassy and B.Traits at Radio 1 Weekend, to standout sets at Bestival, Junction 2 and Melt Festival. Still on a high from delivering a flawless Essential Mix, she continues a summer of pivotal achievements including some exceptional releases, which continues with LNOE.
Whilst having two very different musical histories, these two artists are both trailblazers in their own right, constantly pushing forward and bringing the electronic music scene something fresh and exciting.
‘As the track name suggests, our ‘connection’ (in Swedish, ‘Förbindelse,’) made us start and finish this project. We are very happy that we can now share this with you.’
‘Förbindelse’ drops on Last Night On Earth on Friday 26th October.
Sasha & La Fleur – Förbindelse
La Fleur – Rooned
Niklas Paschburg Releases Hypnotic Video for ‘Anew’. The video uses footage from legendary surfer and filmaker Bruce Brown’s ‘THE ENDLESS SUMMER’.
Niklas Paschburg was born in Hamburg in 1994 – but he knows how to charm and bewitch with melodies and notes; mesmerising sounds and a cinematic atmosphere, intense crescendi and a pop flavour that moves and fascinates. Following his first EP “Tuur mang Welten”, he released his debut album ‘Oceanic’ with 7K! back on in February: a moving trip full of both melancholy and energy; twelve instrumental songs between neo-classical, ambient and electronic music, inspired by nature.
The video for ‘Anew’ uses original footage from a short film shot legendary surfer and filmmaker Bruce Brown, who became famous for producing and shooting much of the film footage for ‘The Endless Summer.’ It features skateboarding manoeuvres performed by a group of young boys, using slow motion and a variety of camera-angles which were not typical in 60’s.
Paschburg’s story is intriguing: Paschburg spent as much time as possible on the coast throughout the past year, catching the mood, breathing in the sea breeze, listening to the constant flow of the waves and transposing it all into his music. This period was a defining experience for the young German composer, grown up as a pianist and then attracted by the so-called “neo-classical scene”: “As a teenager I used to listen to Nils Frahm, Ólafur Arnalds, Hauschka and all that world, and my EP was influenced by those artists. Then I moved in other directions: for my first record I really wanted to make something different, something between piano, classical and electronic music, but also with some pop flavours incorporated – not in harmonies, but in the songs’ structure”.
The result is a soundtrack of a landscape with echoes of Bonobo and Kiasmos, on the electronic side, and with Bon Iver as Paschburg’s main pop reference, co-produced and mixed by Gijs van Klooster (who has previously worked with Joep Beving and Tom Trago). And another feather in the cap for 7K!, the hub launched by the Berlin-based company !K7, to promote neo-classical, ambient and experimental music.
28th October – SIlent Green Kulturquartier, Berlin (Germany)
31st October – E-Werk, Erlangen (Germany)
22nd November – Šv. Kotrynos bažnyčia, Vilnius (Lithuania)
5th Decemver – Nochtwache, Hamburg (Germany)
23rd January – TivoliVredenburg, Utrecht (Netherlands)
25th January – Westerliefde, Amsterdam (Netherlands)
Τwo giants of the electronic word, Derwin Dicker, aka Gold Panda, and Jas Shaw, one half of Simian Mobile Disco join forces to form Selling. The duo’s debut album ‘On Reflection‘ is available digitally now & set for physical release on Dec 14th via City Slang.
The decision to release the record immediately digitally was informed, in part, by the fact that Selling currently have no plans to tour or play live. Earlier this year, Jas Shaw was diagnosed with AL amyloidosis, and is receiving chemotherapy treatment – which currently severely limits his ability to travel, and as a result of which Simian Mobile Disco had to cancel their touring for 2018. We’re happy to report that Jas’ treatment is going well so far, and he hopes to return to playing live in 2019.
Across its concise nine tracks and 42 minutes, ‘On Reflection’ showcases the duo’s full mastery of the genre, moving seamlessly from undulating, driving washed-out techno to sweet, shimmering electronics.
Derwin recognises lead single “keeping txme” as the point where the two felt they had really nailed down the creative process. “It was the 15th or 16th track we made but it was the first track where we did it and it felt finished as soon as we were done. And then it was like, ‘this is good, let’s do more.”
It’s easy to eye collaborative records between two established artists with either a weary sigh or a degree of cynicism. In an age where a track or record seems to perform better directly in relation to how many artist names are on the digital byline, it can often feel like engineered circumstance or a desire to exponentially boost appeal comes before any natural creative endeavour. Selling is rooted in a long-standing friendship and prior creative history.
Having first met a decade ago, the two have prior history together: Jas has mixed two Gold Panda records, including the breakthrough debut ‘Lucky Shiner’. In between, Gold Panda and SMD played shows together in the UK, US and Japan. So further collaboration was a natural progression, but as Derwin notes, not an inevitable one: “We talked about ‘we should just get together and make some tunes some day’. But you always say that with people and it never happens”, he notes, wryly.
Happily though, the truism was dispelled. For Jas, the appeal was two-fold. “Selling was made for fun, really as an excuse to get Derwin to come to my house and drink tea. I like to think that enjoyment is audible in the record”, he notes. Additionally, Jas was drawn into working with someone who could offer a different way of creating in the studio, given he already has a successful and enjoyable partnership with his lifelong Simian Mobile Disco partner James Ford. “I have always enjoyed how natural and unschooled Derwin’s approach to music is. I know that sounds like some sort of veiled insult but it’s not at all, electronic music is littered with well constructed, sensibly arranged tracks that follow a logical harmonic theme, almost all of that music can get fucked.”
From Derwin’s side, having a collaborator for the first time was appealing. “I’ve always been a solo artist, so it’s a lot. When you work on your own, you’re highly critical of what you make because it’s all yours, and there’s no one else to enjoy it with. It can feel like work very quickly.”
‘On Reflection’ ultimately grew from a series of sounds and ideas that were quickly recorded and then edited down to their purest form. It’s a record that exists in spontaneity and quick, gut decisions rather than any sort of laboriously plotted selection of notes and sounds.
Made in Jas’ studio, which is a converted barn at his home in Kent, the record was made “in between eating sandwiches”,Jas confides. Put together at a leisurely pace, Derwin would visit a few days at a time and the two would split their time between making tunes, walking Jas’ two greyhounds and visiting a local farm shop each day. “They’ve got this farm shop called Macknades, and it’s incredible”, sighs Derwin wistfully. “We’d go there everyday and get fresh bread and cheese. A lot of cheese was eaten. Oh, and fudge.”
Touching on how the record was formed, Jas adds “The heart of the record is [Hardware sequencer] Cirklon, it’s such a brilliant sequencer. Unusually we didn’t use the pallet of Gold Panda, which is MPC-driven, or SMD, which is modular synth driven. We started most tracks out with quite cheap 90s rack-mount synths, the type that can be bought on ebay for 30 quid. Even though these are totally digital they really have a distinctive character to them, kind of grainy and shit but in a charming way. Obviously there was a bit of synth stuff, we were not adhering to any rules but I usually think that choosing a palette of sounds to start with gives you a good chance of getting a cohesive record.”
“It’s the most immediate and natural record I’ve ever made,” concedes Derwin. “I never thought I would be a collaboration person, but I guess it’s finding the right person to make a record with.”
Derwin explains “We didn’t make this for a label or something. Initially, it was just us mucking around. There was no plan to make an album. Originally I thought we were going to make a track here and there and stick them out on vinyl. But then, we had an album that sounded quite good and it was like ‘well if we have an album’s worth of stuff, maybe we should just release it’. It became a thing, I suppose.”
“But we’ll quit if it becomes a smash hit record.”
Purchase ‘On Reflection’ here: https://selling.lnk.to/OnReflection
Sarah P.’s new music video “Millennial Girl” is out now. It is a commentary to our societies’ obsession with perfection, as well as to the lavish online lives many lead. Sarcastically, Sarah sings “So I strive, I strive, I strive for perfection every time / But see no purpose. / And I buy, I buy, I buy hip, cool stuff I see online / To scratch the surface.”
“Millennial Girl” is taken from Sarah P.’s debut album Who Am I. The follow-up EP Maenads will be released in late 2018.
Along the video release, Sarah shares:
“Girls (of all ages) have always been told how to do things: how to do our hair, what to wear, how to lose weight, how to look pretty. Superficial worries have been passed on from generation to generation, only to keep us busy for a lifetime trying to get what we don’t have. I couldn’t be more proud and grateful for all the women worldwide who are challenging this narrative and breaking all these stupid, outdated stereotypes. To all the ladies here and everywhere – YOU ARE PERFECTION, just the way you are! I’m really excited to share with you my upcoming records and projects, inspired by female empowerment in the past, in the present and in the future. The Who Am I era is closing – the Maenads era is about to begin!”
Taken from Tom Demac and Real Lies debut EP on Kompakt (out Sept 14). Buy here.
‘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.
“Travel light and prepare for flight. Leave all baggage that is NOT essential where you feel it is most safe”.
Following the release of their recent album “Lower East Suite Part Three”, Onyx Collective announce the release of ‘Space-Wars (feat. Sporting Life)’, outtodayon Big Dada.
The track is built around the original recorded parts of a free form session at the Know Wave headquarters in 2016 – where much of the band’s early material was recorded – with Austin Williamsonon drums, Paul Johnson on bass and Isaiah Barr on saxophone. “Sport who is our friend and collaborator from the days we would play with Ratking, added his sonic flavor to the mix.” explains Isaiah, the result “is a vintage soundtrack to a video game such as Space Wars!”
Listen to ‘Space-Wars (feat. Sporting Life)’ now, released today on Big Dada.
The Blaze share their debut album DANCEHALL, out today via Animal63 and announce headlining European tour dates for March 2019.
Paris-based producers, film directors and cousins Guillaume and Jonathan Alric’s highly anticipated debut DANCEHALL is not to be confused with the sound specific of the Jamaican genre, but instead a tribute to the scene itself which originated in the 1940’s. The dance hall was created from a desire to simply come together and party, at a time when the only way to listen to your favourite artist was to come together in such a way. This was a place where people lived, loved and danced.
Beginning their story with inaugural track, Virile, released in 2016, the duo went on to release their debut Territory EP in April 2017. The Blaze have since expanded their catalogue of musical and visual poetry with singles ‘She’, ‘Faces’ and ‘Queens’, with a overwhelming sense of humanity surrounding all that they create. Whether you see two friends sharing a special moment in ‘Virile’, that sweet feeling of home in ‘Territory’ or are perhaps familiar with the work of French painter Manet and his piece Dejeuner sur l’herbe on ‘Heaven’, The Blaze have a unique way of working, producing the music and visuals at the same time, in tandem as it were. Their incredible musical and directorial skill have not gone unnoticed, winning numerous awards from the likes of Grand Prix at Cannes Lions, the Best Directors award at Berlin Music Video Awards, UK Music Video Awards to name but a few.
The Blaze have spent 2018 so far playing some of the world’s biggest festivals, conquering the European festival circuit by captivating audiences at Reading & Leeds, Primavera, Parklife, Garorock, Europavox, Mainsquare, Melt, Art Sonic, Lollapalooza Paris, Dockville, Lovebox and Pitchfork Paris as well as a standout performance at Coachella. The Blaze will continue to fulfil their one wish of making audiences around the world able to feel by embarking not only on a headlining tour in the US this October, but also across a string of newly announced European Dates for March 2019.
The Blaze debut album DANCEHALL is OUT NOW via Animal63.