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Indian E-music – The right mix of Indian Vibes… » Articles

Here’s What You Missed At Poland’s Avant-Underground Unsound Festival

Delivered... By Chloé Lula. Cover photo by Maja Chiara Faber. | Scene | Fri 20 Oct 2017 12:44 pm




The post Here’s What You Missed At Poland’s Avant-Underground Unsound Festival appeared first on Electronic Beats.

Mentors: How Silent Servant Guides Rising Techno DJ Phase Fatale

Delivered... Interview by Chloé Lula. | Scene | Thu 19 Oct 2017 10:33 am

Silent Servant has long been a flagbearer for the contemporary dance floor avant-garde who blends the sounds of warehouse techno, industrial noise and post-punk. His signature brand of minimal wave-indebted techno has exerted a profound influence on the tastes of producers and fans since his initial experiments with Sandwell District 15 years ago, and many rising stars have followed in his musical footsteps. One such artist is Phase Fatale, a New Jersey-born, Berlin-based producer who has garnered attention for a DJing and production technique that weds early ‘80s electronic sensibilities with contemporary techno. His penchant for the style has earned him releases on Silent Servant’s own Jealous God label and the Ostgut Ton sub-imprint, A-TON—not to mention regular bookings at Berghain.

The two producers have collaborated more frequently over the last few years and have performed together at shows like Berlin Atonal. For our latest Mentors column, we sat down with them to discuss their shared musical pasts, the influence they’ve exerted on each other’s productions and their recent collaborative 12-inch, Redeemer, which came out on Vatican Shadow’s Hospital Productions on October 13.

Phase Fatale: A lot of the music that influenced me the most came from the Wierd parties in New York—they happened weekly at Home Sweet Home. It was the coldwave and minimal synth party in the States that was bringing this sound over from Europe that had already been going on for years—since the ‘80s.

Silent Servant: I worked in advertising for a long time, so even when I was living in LA I would go to New York for work, and I’d also end up at the Wierd parties. I didn’t know anybody. I would literally just go and sit in the corner and listen to music. But there’s a similar party in LA. We had Part-Time Punks. The thing with Wierd, though, is that the guy running it, Pieter Schoolwerth, also had a record label for the whole thing, so there was a very stable music community that revolved around it. A lot of those same bands would play in LA. So the connection was there. Pretty much all of the stuff that he did and the bands that he brought out would come play with us in LA. And I would DJ at Part-Time Punks a bunch, too, so it was the same thing happening on both coasts.

PF: I think the thing about Wierd—or Part-Time Punks—is that there’s an aesthetic approach to it. It’s not just a traditional goth party that plays The Cure. It was something that dug really deep and was super nerdy, but at the same time it was very eccentric and had an almost club kid vibe to it.

SS: Yeah, exactly. I think it became a place where you could listen to really good music that you wouldn’t hear anywhere else. You could hear any minimal synth band or goth thing that we’re into. I don’t pretend to be super goth or anything, but a lot of the appeal of this music aesthetic for me is that it’s what I grew up with. I’m a little older—I saw the end of the ‘80s—and I saw my older brother go to all of these new wave clubs. I always really wanted to experience that. LA has always had a lot going on in that scene. So as I got older, it just became a part of me.

PF: Yeah, the same goes for me. My dad was involved in the scene in the ‘80s, mostly with new wave and goth and post-punk bands, so when I was little he kind of drilled this music into my head. We listened to a lot of new wave and post-punk bands in the backseat of the car. So I grew up with a lot of music that most people in my generation didn’t have exposure to. I actually remember the first time I walked into Wierd. I was completely underage; I wasn’t even 18. I just remember walking in there and hearing these songs that my parents used to play for me when I was a kid and I would always just listen to them at home. When I walked in there, though, I was like, “Woah, they’re playing this song in here?” I never thought that existed outside, because of course when I was younger, I wasn’t going to bars.

SS: We actually met at one of these things. It was some weird-ass party that Martial Canterel was playing. It was just one of those things that you experience with certain people where you see someone and you’re like, “You kind of look like me,” or you have some other commonalities from a visual standpoint, and then you realize that you have commonalities from a musical standpoint that’s totally outside the techno stuff. And for me, that’s even more of a connecting point.

PF: Yeah, it’s more interesting when you can find strange common ground. We ran into each other a few times in the last few years, and then we ended up working together after all of these small meetings. Our first “collaboration” was the Grain EP on aufnahme + wiedergabe, but I don’t even know if you could call it a collaboration since we didn’t work on it together—I just sort of threw him the stems.

SS: Yeah, I remixed that and then kind of forgot about it, and then I started hearing it out a lot and was like, “Oh, cool!”

PF: I guess the first real collaboration of ours was the 2016 Atonal performance. We decided to make something special rather than just each of us playing solo again, which happens all the time.

SS: There were already certain influences that I really wanted to be part of it, but you were like, “Oh yeah, totally.”

PF: Yeah, I think what was nice about it was that we were able to pull from different references that we love but that we wouldn’t use our own selves as solo artists because they didn’t fit into our individual sonic palettes. But together we were able to expand and make something a little more referential by combining different elements.

SS: But at the same time I think that because of the way we mixed it, it still didn’t sound that referential, which is kind of cool. For me it was about experimenting with types of rhythmic patterns and shit that I don’t normally use. Then I made some stuff, and you made some stuff, and we spent, like, two days piecing it all together.

PF: There was even one part we made that was a KR-55 drum beat that I had sequenced, and we were like, “What would happen if we just mashed them together?”

SS: We were like, “Yeah that’s kind of cool!”

PF: It actually ended up becoming a whole song that changes and everything. It was completely not premeditated at all.

SS: Yeah, the set was a lot of happy accidents. But I think that’s also a testament to the fact that two people who work in similar contexts can be completely different, but that the references are kind of similar, you know. That’s why I started working with you—because I was like, “You know what’s up in my world, and we get along.” You just find commonalities and are like, “I can also be friends with this person.” There are some people, you know, you meet them and it’s strictly music, because you probably wouldn’t hang out with them normally. But in this context it’s cool, because I think of you as a friend. Plus we have these root aesthetic commonalities. Working together is not hard. It feels very natural.

PF: In order to work with somebody closely like we do, there has to be more than just music, obviously.

SS: You’re spending a lot of time with that person. It won’t work if you want to kill them at the end of the day. The only person I’ve really, really worked a lot with before is Karl—Regis. Karl has been such a big mentor for me. If it wasn’t for him, my life would be different. He literally just plucked me up and was like, “Come work with us,” and I was like, “Okay!” For me it’s like, trying to find the payback. And it’s not like, “I have to give back to the community!” I just think it’s really special when people are provided opportunities that you can give.

PF: I don’t think that having a mentor is necessarily critical to learning the ropes, but it’s really nice when you can find someone who will help you. This scene is so large and it can seem so daunting—there are so many different places where you could fit yourself into it. It’s good to find someone who’s already done things that you want to do and who shares your mindset.

SS: I think it’s more about finding people who culturally inspire you, because then it becomes a two-way street. As much as I talk to you, I get as much back from you just being enthusiastic and providing some perspective.

PF: People working in techno especially can be really insular. I’m coming from playing in bands and stuff where you’re always working with people, and they’ll tell you, “Your playing sucks. You’ve gotta try this.” It’s actually good criticism, even if you don’t agree with it. You always need another perspective, otherwise you can’t develop.

SS: A mutual respect has to be there too, though. There has to be a common respect to let people do what they do and give them new ideas.

PF: The 12-inch of edits coming out with Redeemer was actually your idea, because you did it for your release on Hospital Records in 2012. It turned out to be a really awesome idea. We just sat in my studio for, like, two days and went through the album together. My tracks tend to be so dense, but you have a more minimalist sensibility that works out really nicely in a dance floor setting because there’s more space and your tracks mix a little better. So you were like, “Take this out, take this out, make this longer.” Just through that short process, I garnered so much about how to better arrange a track for the dance floor. Before I just threw everything in, and now I know more about space and how to have different elements come in and out and small details that I can make way more intense rather than just turning everything up to 11.

SS: That’s something that I learned a lot from Karl. He’s really good at arranging. It’s not like I’m that good at it or anything, but especially when I’m DJing, it’s like, “Where are these parts going to go where I can mix in or out?” It was the first time for me being on the other side and helping someone in that way. Because when I worked with Karl, he just showed me and I just watched.

PF: It was great to go through this process of conceptualizing and then editing it technically. I also worked on it a bit faster than usual, which was good. Otherwise I dwell on stupid details that don’t matter. In the end, if you start screwing with something too much, you make it worse than it was before. It’s always the case. The first take is always the best take, so they say.

SS: That’s an interesting element to the music that we’re making—there’s almost an element of immediacy. And I think that’s why bands like Suicide are so good. There’s this immediacy to it that you feel right away. If you keep fiddling with things then a track can become too refined and sterile.

PF: In the end, I saw Redeemer as a way to put together all of the references that I love, like all of these past musical influences that I could summon up and recreate in my own statement and sound. It takes the Jealous God records and the sounds that were created there and transforms them into a new thing by using more guitar and vocals. So I’m going back to my band background and making something you really couldn’t do on a three-song 12-inch. It feels like I closed one thing and now I’m moving onto the next stage of my evolution. It was the perfect time for Dominick [Fernow]—Vatican Shadow—to ask me to work on it, because so many things are changing for me right now. This record closes one door and lets me continue.

Read more: Return To Wave: Helena Hauff Talks To Veronica Vasicka

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Budapest’s UH Fest 2017 Showed Why Politics Matter To Music Scenes

Delivered... By Elissa Stolman | Scene | Fri 13 Oct 2017 12:21 pm

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22 Exciting Polish Artists Playing Kraków’s Unsound Festival 2017

Delivered... By EB Team | Scene | Mon 9 Oct 2017 12:01 pm

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Electronic Music Awards Shows Face One Big Challenge

Delivered... By Michelle Lhooq | Scene | Fri 6 Oct 2017 10:04 am

The post Electronic Music Awards Shows Face One Big Challenge appeared first on Electronic Beats.

Panorama Bar DJ Roi Perez On Being A DJ Who’s Not A Producer

Delivered... By Roi Perez. Cover photo by Matthew Billings. | Scene | Thu 5 Oct 2017 12:43 pm

When I started DJing, I never thought about where it would lead me. I simply loved playing music. I was immediately fascinated by the idea of being able to produce my own tracks as well, but I had no real understanding about what it takes to be a producer. I was curious, pretty young at the time and quite naive. So I bought a pair of monitors and Logic Pro and enrolled in a course for music production, but after a while I realized that it was not my space. I found that I don’t feel comfortable sitting in a studio for hours on end. That’s not really the way I connect with music.

At the same time, the more I got into DJing, the more I realized that it’s a whole world in and of itself. I was sucked into that world, and it didn’t really leave much time for me to focus on anything else. Since then, the different aspects of it basically consume 100 percent of my time.

I don’t produce my own edits, either—or even use the loop function on the CDJs, for that matter. My approach to DJing is pretty pure in the sense that I want to let the music play. I am aware of the possibilities and power that comes with producing your own edits—for instance, you can streamline and perfect tracks for your own sets. But I’m not looking for perfection when I DJ. I don’t want to edit someone else’s creation in order to fit it better into my sets. I’m more concerned with other questions, like: What do I want express with the music? How does that translate into my flow? And how do I connect and communicate with the people on the dance floor?

That being said, I admire people who are able to make music and express themselves as musicians through their music. It moves me. And their records enable me to do what I love. I am a dancer at heart. I like the dance floor as much as the DJ booth. You could say that I approach DJing with the understanding of a dancer.

Deep inside, I maybe sometimes think that it would be really amazing if I could create my own music, but I enjoy the craft of playing records so much that I don’t want to do anything else. I’m constantly refining my technique and constantly learning. I play at home a lot, too, and I go through my records all the time. To me, DJing and all the things connected to it, like digging for records in different ways, has a therapeutic effect. I can’t not play music for very long.

I get that DJs today feel the need to produce their own records so they have something people can talk about and something they can promote themselves with. I understand that dynamic. But it’s not for me. It doesn’t motivate me. As much as my initial fascination related to both DJing and production, I came to realize that they are very different art forms. There is the saying that a good DJ isn’t necessarily a good producer, and vice versa. Even if it is a bit of a cliché, I subscribe to it.

Among other residencies, I’ve been a resident at Panorama Bar for one year, and I’ve been playing the club for three. It’s a great place to present my musical vision. And it’s a club that allows their resident DJs to be first and foremost just that: DJs. Take Tama Sumo or Boris, for instance: when I joined the agency, they asked me if I was going to start producing, too. I replied that I would like to dedicate myself to DJing for the time being, and that I don’t really see myself diverting that focus to production any time soon. They accepted that, and we’ve never talked about it again.

So what does it ultimately mean to focus entirely on listening closely to other people’s records? It means gaining a deeper knowledge of the musical decisions that they’ve made and how these translate both on the dance floor and within the larger narrative of my set. It means understanding the endless ways to make connections across rhythms and genres and shedding new light on a record by playing it within the context of two others. You can hear a song completely differently when it’s blended, introduced, followed or interspersed by an unlikely choice, like when rhythmic shifts are created within a track by introducing new elements. Some of the best DJs can make you hear a track that you think you know well for the first time. Within each of these avenues, there’s an enormous creative potential that can be explored. Being a DJ and not producing is not about being modest or lacking confidence, but about being obsessed with music in a different way.

Roi Perez will play our Telekom Electronic Beats Clubnight at Mauke in Wuppertal this Saturday, October 7. Find more information here.

Read more: Get a lesson on how to tour with your vinyl from a veteran DJ

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Played Out: DJ Olivia’s Space-Traveling Electro Alien Jams

Delivered... By DJ Olivia. Photo by Kachna Baraniewicz. | Scene | Mon 2 Oct 2017 10:37 am

The post Played Out: DJ Olivia’s Space-Traveling Electro Alien Jams appeared first on Electronic Beats.

Anthems From The Trippy Ambient Nights At Frankfurt’s Club XS

Delivered... By Oli Warwick. Photos courtesy of Amir Abadi. | Scene | Thu 28 Sep 2017 10:24 am

The post Anthems From The Trippy Ambient Nights At Frankfurt’s Club XS appeared first on Electronic Beats.

Avalon Emerson Tracks IDs And Dissects Her DJing At Printworks

Delivered... By Avalon Emerson | Scene | Tue 26 Sep 2017 10:07 am

00:00: The Magnetic Fields, “I Shatter” (Merge 1999)

At the time I recorded this, I had been starting a few sets with “I Shatter” by The Magnetic Fields. I have a completist obsession with all things Stephin Merritt. I love the way his alien baritone cuts through and how it’s not outwardly rhythmic, so when I bring in the claps of the intro to my Bwana remix, the introduction of that beat logic has a bigger effect.

31:00 Shamir, “On The Regular (Avalon Emerson Bought The Cow Remix)” x An-i, “Gutz” (Cititrax 2014)

So. Many. People. have asked me about Shamir “On The Regular” mixed with An-i’s “Gutz”. Back in 2014 XL asked me to do a remix for this new artist, Shamir. I ended up doing two that never actually ended up seeing the light of day. So it goes with remixes sometimes. Anyway, it left me with the vocal stem, which I experimented playing on top of other things. “Gutz” won the experiment for me. The reason people have misidentified it is because I played a version of one of my actual remixes one time on NTS, so the tracklisting is there. But what you hear in this printworks set is not something I’m calling a remix, it’s just me DJing.

TIMESTAMP: 34:00 Air Max ’97 x Oklou, “Like Rainbow Horse Running Through Misty Brain (Dis Fig Bootie edit)” (Not On Label 2016)

Then after that, continuing the cartoonishly hard distortion wall, I brought in the Dis Fig and Air Max ’97 edit of Oklou’s “Defeat”, which is called “Like Rainbow Horse Running Through Misty Brain”. I’m deeply obsessed with this melody. I think the geniously saccharine brightness is a beautiful contrast with the drums on the previous track from An-i.

41:30 Bleaker’s Cowboy Bebop OST “The Egg and I” Edit x Björk, “Unravel” x Pilotwings, “Congo Libre”
After a robotically straight departure from previously referenced gnarliness with “Lost Love” by Ever Vivid, I took a moment to drop the tempo about 20 beats per minute by using a conga loop from an edit Bleaker made of a cut from the Cowboy Bebop original sound track, piggybacked with a loop of Björk’s voice from the intro of her song “Unravel”. I kept in time the Bleaker edit while cueing up the Pilotwings’ “Congo Libre” and tried and hold everything else back when she’s singing her chorus because I think it sounds good—but mostly out of respect. When she finished and “Unravel” moved to its outro, I drop in the intro tambourine break of the Pilotwings’ song. And then I can use Unravel’s organ outro with that to bring up the tempo about 15 or so beats per minute again.

51:00: Unreleased
I love playing with massively different tempo changes. It keeps things interesting to not just be stuck in one heartbeat analog. So I changed the tepo after a euphoric moment with one of my favorite unreleased songs from a friend around the 51 minute mark, which I think is so beautiful that it deserves to be played in full.

56:40: Korallreven, “Sa Sa Samoa (Elite Gymnastics Remix)”

I used the sugary outro with the synth stab intro of Elite Gymnastics’ remix of Korallreven’s “Sa Sa Samoa”, which has given me goosebumps for however many years it’s been out and I first heard it. But it’s also about 150 beats per minute, so you have to basically drop in and just go with a jungly hardcore moment.

61:00: Photek, “Complex”

I followed the Korallreven track with this classic, Photek’s “Complex”. It’s airy enough to gradually slow down and serve as a bridge into Objekt’s “Needle & Thread”. When I first walked into Printworks that day I heard someone else playing it in the main room. Sometimes songs as great as “Needle & Thread” get played twice in a night. (ED NOTE FROM LISS:https://media.tenor.com/images/b61dc373fd80dc1f1516b12d4c240434/tenor.gif)

This was such a fun set. I felt like I could go anywhere I wanted and the crowd would stick with me. This was one of the gigs that really confirmed my decision about a year earlier to quit my day job and make music and DJing my full-time darling. Eternal gratitude crystals to all who dance and listen <3

The post Avalon Emerson Tracks IDs And Dissects Her DJing At Printworks appeared first on Electronic Beats.

Tbilisi In Berlin: Highlights From A Concert At A Crematorium

Delivered... By Jessie Childs. Photos by George Nebieridze. | Scene | Mon 25 Sep 2017 3:06 pm

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17 Events That Make Fall Our Favorite Season For Music Festivals

Delivered... By EB Staff | Scene | Thu 21 Sep 2017 10:47 am

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Inside The Sound Of Leipzig’s Top Club, Institut Für Zukunft

Delivered... By Perm | Scene | Mon 18 Sep 2017 10:28 am

The post Inside The Sound Of Leipzig’s Top Club, Institut Für Zukunft appeared first on Electronic Beats.

Muting The Noise: Inside Innervisions’ Secret Lair In Berlin

Delivered... By Chloé Lula. Photos by Anastasia Muna. | Scene | Fri 15 Sep 2017 1:57 pm

The post Muting The Noise: Inside Innervisions’ Secret Lair In Berlin appeared first on Electronic Beats.

This Is What Tbilisi’s Rave Scene Looked Like Before The Hype

Delivered... By George Nebieridze | Scene | Mon 11 Sep 2017 10:29 am

The post This Is What Tbilisi’s Rave Scene Looked Like Before The Hype appeared first on Electronic Beats.

10 Labels And Clubs Sustaining Athens Nightlife In Hard Times

Delivered... By BoneBrokk | Scene | Fri 8 Sep 2017 10:54 am

The post 10 Labels And Clubs Sustaining Athens Nightlife In Hard Times appeared first on Electronic Beats.

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