Underworld have announced details of DRIFT Series 1, that concludes on November 1, 2019 with a collection of new material released as a box set/LP/CD/DL and on streaming services. The box set features 7 CDs, a Blu-ray and an eighty page full colour book.
New track S T A R online everywhere now:
What is DRIFT?
• It’s precisely one year inside the minds of Underworld.
• It’s a journey that began on 1st November 2018 when Underworld released the track Another Silent Way and set off with no map, no fixed destination and a simple mantra (“Drift is the opposite of ‘normal’ or ‘usual’ practice; we’ll do this until we’re dust.”) ‘Rick Smith and Karl Hyde’s aim was to create and publish music and film episodically for 52 weeks and see where the journey took them. Within a few weeks, the experiment found its own path, prompting the electronic pioneers to react to previous releases and create new works accordingly. Over time, the duo’s innate curiosity opened up a unique space in which they could experiment, learn and explore new frontiers – together and with others (including Tomato’s Simon Taylor, Australian improv-trance band The Necks, techno producer Ø [Phase], Japanese noise band Melt-Banana, economics writer Aditya Chakrabortty and members of Black Country, New Road). During the 52 weeks, five self-contained episodes were released (respectively in November, January, March, May and August) – collectively, they formed DRIFT Series 1.
• It’s a unique and expansive audio/visual document of that open and constantly evolving recording process – seven discs of immersive and exploratory music that dive deep inside the band’s psyche. And it’s also a carefully picked single disc sampler that guides the listener straight through the centre of the project.
• It’s a series of extraordinary films that take you from Shibuya Crossing to the Moroccan desert to rural Essex via the inside of supercomputer.
• It’s a book that delves into process and explores the motivation behind one of the most ambitious creative endeavours ever attempted by a recording artist.
And… at the heart of it, there’s some of the best music Underworld have ever made – as much a progressive leap forward into the unknown as their classic debut dubnobasswithmyheadman.
DRIFT Series 1 collects the entire body of work and will be made available digitally on the 1-year anniversary of the first release. The DRIFT Series 1 Sampler Edition comes out the same day. The DRIFT Series 1 box set comprises 7 CDs, 1 Blu-ray, and an 80 page exclusive book documenting the entire DRIFT journey from start to finish in interviews with Rick Smith, Karl Hyde and Tomato’s Simon Taylor along with pictures, poems, commentary and lyrics.
Montreal by way of Berlin electronic duo Blue Hawaii (comprised of Raphaelle “Ra” Standell-Preston and Alex “Agor” Kerby) share new single “All That Blue” and announce their new album “Open Reduction Internal Fixation” out October 11th via Arbutus Recordings. “All That Blue” brilliantly sets out the stall for record, with its deep bassline and house inflections, anchored by Ra’s dreamy vocals as they warped and vocodered and guided by an irresistible saxophone line. It really works its magic over 5 minutes and the 90s nodding visualiser is the perfect accompaniment, watch above.
“All That Blue” is a dance-floor friendly slapper written in early spring of 2019, in Berlin and Montreal. It features Ra delivering a syrupy, relaxed verse wishing away the dregs of winter and grey skies, contrasted against a belted chorus demanding all that blue and sunshine. Deep bass, spacey acoustic guitar, saxophone, heavy vocoding, and hypnotic drums form the basis for the lyrical feeling, chugging forward towards good vibes. – Blue Hawaii
Taken from the upcoming album ‘Voyage Voyage’ : https://COMA.lnk.to/VoyageVoyage
“A sophisticated AI neural network tracks and selectively erases Telefon Tel Aviv from the transient spaces of the nighttime Los Angeles Landscape…”
The return of storied Southern Gothic electronic entity Telefon Tel Aviv is as unexpected as it is impressive. Their three influential albums of the 2000’s— Fahrenheit Fair Enough, Map Of What Is Effortless, and Immolate Yourself—charted an increasingly turbulent and textured vision of post-IDM synthetic songcraft, until the sudden passing of founding member Charlie Cooper in 2009 ceased the project, presumably forever. During the decade since, co-founder Josh Eustis has performed with, produced, mixed, and mastered countless artists, from high-profile institutions (Nine Inch Nails, Puscifer, Apparat) to underground fixtures (Belong, Vatican Shadow, Drab Majesty, Tropic Of Cancer), in addition to his own solo and collaborative work in Sons Of Magdalene and Second Woman. But years of reflection and processing gradually seeded in him a desire to revive TTA and venture a fourth full-length, in the spirit of what they started: Dreams Are Not Enough.
Now Telefon Tel Aviv share the video for “a younger version of myself,” directed by Lance Drake. Watch above.
Complementarity, the kind where ideas meet, merge and materialise into something new, is something truly special and often the most soughtafter effect of an artistic collaboration. This synchronicity was not unfamiliar to Robot Koch and Savannah Jo Lack, who had successfully worked together on an album in the past, but for their newest EP, Otherwhere, both artists were venturing into uncharted territories; the duo would be joined by an orchestra.
Approached by Neue Meister label to be a part of its concert series by creating a special piece with the the Deutsche Kammerorchester, Koch was immediately eager to bring the Australian violinist and composer as well as long-time friend, Lack, onboard. Back in 2016 both artists paired up for the album “Particle Fields”, an acclaimed release which proved that their distinct sounds, Koch’s electronic and cinematic productions and Lack’s lush string compositions, complemented each other. But this time around, there was also an Orchestra to be considered, “Some of our usual approaches to recording were not available, so we were very conscious of writing in a way that served the ensemble,” explains Lack.
Otherwhere is a work of synergy both in its compositions and execution. Koch and Lack’s sensibilities not only magnify one another but also give an added vibrancy to the sound of the Deutsche Kammerorchester, “The album, for me, is a meeting of minds, hearts and methods of composing. It juxtaposes very visceral, instinctual musical choices with more cerebral approaches to creating mood and feeling,” says Lack.
The creative process behind Otherwhere was contained in a specific time-frame. Once the material had been written, Koch and Lack had three days of rehearsal with the orchestra before a live performance in Berlin, with the album being recorded on the third day. Writing the music flowed organically – sometimes Lack would propose an idea for a string composition which Koch would add layers of sub bass, percussion and synths to. At other times, Koch would experiment on the piano and Lack would complement his idea with the strings, “we both fed each other’s ideas and bounced them back and forth,” explains Koch, “What took some time was the actual orchestration part, creating the sheet music for the players, which was masterfully done by Savannah.” The symbiosis between the artists also meant that they would venture out into each others musical worlds. Rather than Koch keeping to the electronic and leaving Lack to the acoustic arrangements, he would create some of the sound design elements from the actual orchestra recordings, “it’s a real fusion rather than superimposing strings over a prewritten electronic track,” explains Koch.
The resulting 5 tracks on the EP are an amalgamation of these talents and ideas. In the track ‘Light through a canvas’ Lack’s classically informed violin soars over Koch’s futuristic and dark backdrop, culminating in a dramatic furor only befitting of an orchestra. ‘Steam’ is a personal favourite for both artists, perhaps for synthesizing their working relation and expressing their complementarity so well, “I wrote the original idea for that on the piano. It has a certain simplicity to it that I like while creating a very distinct atmosphere inspired by artists like Eno and Lenois or Harlod Budd,” says Koch of the track. “Robot’s piano sketch was so alive with mood for me, that the strings just kind of ‘knew’ what they wanted to do to serve that arc and vibe,” adds Lack. All throughout the EP, the combination of Koch’s electronic production with Savannah’s strings yields a certain tension within the listener – there are moments of heart-tugging comfort and moments of eerie displacement. Delving into these opposing feelings of safety and unfamiliarity is not new for Koch, the composer often juxtaposes the organic with the synthetic to provoke both intimacy and alienation, humanism and futurism, “I’m fascinated by the unknown. it’s something that excites me rather than scares me,” explains Koch. In Otherwhere, this tension is only heightened by the orchestra.
The first single of the album, Light Through a Canvas, is out today (30th of August). Watch the video by by Mickael Le Goff below:
Perhaps it is unsurprising that both Koch and Savannah are fans of, and were inspired by surrealist art, where distinct shapes and figures melt and morph into one another to form bizarre and intriguing worlds, “I discovered Leonora Carrington’s work in 2010. There is a dark mysticism in her paintings that really resonated with me,” tells Koch “I love her creative depiction of dreams, ghosts, and surreal creatures, all rooted in legends and magic of ancient cultures.”
As the very name of the EP suggests, Otherwhere is based on this fusion of different ideas and concepts in order to create something new, strange and alluring. Putting the worlds of classical and electronic music in an open dialogue was a means both artists found to achieving that, with Koch and Lack’s complementarity making the fusion all the more exciting, “I think our mutual willingness to let go of the expected restraints of our genres lets us collaborate in a very sympathetic, organic way,” says Lack, “Basically, we are striving for the most moving, most interesting way to express a particular emotion or musical idea.”
Release date: 20.09.2019
01. Light Through a Canvas
03. Stars Aligned
Fejká Announces New Album REUNION. The first single, Svanur, is out today, July 26th. Watch the beautiful accompanying video below, shot in Iceland. Fejká will also be joining German deep house producer Christian Löffler on an European tour in November.
Creating an album is a journey of self-knowledge through hindsight; putting together the tracks that will compose the oeuvre much like putting together a photo album. It involves looking back and undoubtedly reflecting over the memorable times that inspired each composition. That is definitely the case for Fejká, who released this year his album, Reunion. “The tracks on this album started to emerge from all different moments, feelings and mental states of my life during the last two years. They all have the same origin and purpose, to be fragments of my journey to find myself. Each song is a part of me,” says the German electronic music producer and visual artist.
Like with everything that involves hindsight, there is a great deal of nostalgia in the album – and it is the nature of nostalgia to be fluid. It can be at once sweet or melancholic, agitated or mellow, airy or heavy, but it nonetheless invokes in all its forms a sentimental longing for something. In Reunion, nostalgia is primarily given shape in dreamlike soundscapes, soft atmospheres that nonetheless evoke strong contemplative feelings. This longing is carefully unfolded in the album’s track Youth where a simple melody plays out over the sound of seagulls and develops effortlessly into a joyful tune. The track, informed by its title, invokes the candor and naivety of childhood, “The song is not trying to be cool, dreamy, dancy or anything, it’s just this carefree and lighthearted atmosphere.”
But to describe Fejká’s music only by its more delicate side would only be painting a part of the picture. Since his EP Twilight, the producer has been exploring sounds that are at once ethereal and dynamic, celestial but also very much grounded on the dancefloor. In a seamless way, Fejká crafts music that is equally suitable for introspective moods and wonders as it is for a club. But while ‘Twilight’ explored this duality between dreamlike atmospheres and dance music, Reunion seems to delve into a much vaster range of emotions and approaches, cementing the young producer’s eclecticism, “I think that I realized that life is too diverse to be only portrayed by one sound style,” explains Fejká,“It’s a collection of my life and the sum of all the ups and downs.”
Take the track Untold for instance, perhaps the most fast-tempo title of the album with it’s punctuated beats and repetitive melodies. Rather than it being just a dance tune, it is also a highly emotive and contemplative song which plays out like a riddle, provoking feelings of quest and curiosity, “It catches a mysterious atmosphere and plays with the power of the unknown. I really love music causing emotions which seem too complex to understand,” says Fejká. The track couldn’t be more different than the album’s opening title, Reunion, which moves slowly and carries an ethereal melody of melancholy and insight. Both songs nonetheless are equally compelling in conveying a feeling instantly and potently.
Another tool used on Reunion that hits hard on an emotional level, is the use of the voice, “It conveys a certain authenticity and truth, and builds a bridge in terms of emotionality for the listener. Experiencing an emotional medium through human voice triggers some deeply rooted evolutionary feelings,” explains Fejká. The strongest example of this sentimentality comes in the track Reunion for which friend and musician Marie Angerer contributed with haunting vocals, “For me, a female fragile voice is very special and outstanding in the universe of musical elements,” he says.
Putting together the album might have been a journey of self-knowledge, but creating its ten tracks was purely intuitive for Fejká, “While doing a song, I think you should just do it and not think about anything else,” he explains. “After finishing, you will start to realize what you have just created and try to find personal meaning.” Having a visceral creative process means that inspiration could hit at any time, anywhere. Drafting sketches became an important way in which Fejká would capture those revelations, “Sometimes I have ideas for melodies and lyrics, so I end up humming the melody awkwardly into my phone.” From then, Fejká would develop these sketches in his laptop – a basic setup which nonetheless permitted him to take his ideas far, “I only expand my set up when I really feel that I can’t produce what I want with my current equipment, otherwise, it will just overstress my mind and wallet.”
It is fair to say that Reunion is much more about feelings than it is about any technical element or craft. The strength of the album’s tracks is deeply tied to their ability to capture a mood, and convey it to the listener. Fejká has successfully been honing this ability since his last EP. In Reunion, the young producer moves the listener through his own personal emotive journey, through his own experiences, and at every track the listener feels closer and more at home with Fejká himself.
Pre-order Reunion here. Releases September 20, 2019 via Christian Loffler’s Ki Records.
2. Reunion (feat. Marie Angerer)
4. Svanur (feat. Rökurró)
8. Skye (feat. Marie Angerer)
‘Simple Things’ from Aparde’s new album ‘Hands Rest’ :: https://33r.pm/amkt
“Teenage Birdsong” filmed at Alexandra Palace, London – May 9, 2019
Having recently announced their new album ‘Weather’ is due July 12th via Mom + Pop Music x Ninja Tune, Tycho are sharing their new single “Japan”.
The track comes in two forms, the first features the addition of vocals from Hannah Cottrell (Saint Sinner) and the second is an instrumental piece, which features the vivid signature soundscapes present in the classic Tycho sound.
Scott Hansen of Tycho said “Similar to ‘Pink & Blue’ the instrumental versions are not just the songs with vocals muted, they are different arrangements with different instrumentation and melodies in place of the vocals. I wanted to explore the idea of approaching songs from two entirely different perspectives.”
With visuals from director Charles Bergquist, Hansen said the following about the new song “I had just returned from spending some time in Hakone, Japan with my wife’s Japanese relatives. I was thinking a lot about the kinds of electronic music instruments I had been using when I first started making music in the late ‘90s. With Japan I was trying to recapture a part of that sound and combine it with the imagery and experiences from my trip to Hakone. I sent the song to Hannah with nothing more than the title of Japan and she wrote all of the lyrics.”