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Transitions 458
Hour 1: John Digweed
01. Electric Rescue - Lili (Album Version) (Sonic Architecture EP) [Bedrock Records | BEDER01CD]
02. John Hopkins - Open Eye Signal [Domino Records | RUG526T]
03. Christophe ft. Danielle Moore - Comeback (Casino Times Remix) [Future Boogie Recordungs | FBR018]
04. Marco Faraone & Luca Agnelli - Hold It Like That [Desolat | DESOLATX022]
05. Phoenix - Entertainment (Hot Natured Remix) [Glassnote Records | 886443981928]
06. Dinky - Falling Angel (12" Version) [Visionquest Records | VQ028]
07. Remote - Conex (Kiki Remix) [Meant Records | MEANTLW001]
08. Monika Kruse - One Love (Rampa Remix) (Traces Remixes PT. 2 EP) [Terminal M Records | TERM103]
Downloads:
Hour 1: John Digweed Transitions 458 Studio Mix
Hour 2: Andreas Henneberg Transitions Guest Mix
Release Notes:
01. Electric Rescue - Lili (Album Version) (Sonic Architecture EP) [Bedrock Records | BEDER01CD]
After releasing "Dope" a few years ago which quickly became an iconic Bedrock classic, we have been working very closely with Electric Rescue and it gives us great pleasure to release his "Sonic Architecture" album which is due out on June 10th.
Electric Rescue aka Antoine Husson is one of France's leading electronic music producer/DJ talents. 'Sonic Architecture' is his new album to be released on John Digweed's Bedrock label.
A 12 track collection that shows Electric Rescue moving deftly between the kind of taut, melodic techno; harder edged dancefloor rhythms & experimental electronica he's brought to prominence on Gallic soil. A confident, flowing artist album it's the type of release that can only stem from years of experience & near constant immersion within electronic music culture.
First discovered by Laurent Garnier, Electric Rescue embodies French electronic music's avante garde sensibility, combining it with a techno worldview that crosses all borders. The rollcall of labels he’s released music on reads like a who’s who of leading and legendary imprints from Bedrock to Soma, F Communications to Harthouse & beyond building up an extensive discography & an enviable career in the process.
As a DJ, his residency at Rex Club cemented his reputation on home turf later gaining noteriety by organising Paris’ infamous Play parties. Further afield, he’s played every major club worth referencing – Berghain, panoramabar, Club Tresor, Air Club, Moog (Barcelona), Decadence & many more. A keen eye for new talent, Antoine has championed the likes of Julian Jewell, Traumer, Maxime Dangles, Commuter & many more.
02. John Hopkins - Open Eye Signal [Domino Records | RUG526T]
The first single from my 4th solo album, Immunity, released worldwide 3rd June on Domino Records. Available on vinyl and digital.
Jon Hopkins is set to release "Open Eye Signal (Remixes) 12", a set of remixes of the lead single from his forthcoming album Immunity. The white label 12" vinyl features remixes from Happa, Lord of the Isles and Nosaj Thing.
London’s Jon Hopkins has a profoundly mind blowing piece of work launching in June with Immunity. With a release date set for June 3/4 on Domino Records, there’s already a lot of buzz with the first music video release premiering on Pitchfork.tv a few weeks back and the new Nosaj Thing remix that appeared recently. We wanted to wait to post this new music video as to coincide with the brand new 12″ Domino Records has put out for the single “Open Eye Signal” (which includes three remix tracks from Nosaj Thing, Happa and Lord of the Isles). For the official music video, Hopkins worked with director Aoife McArdle and presented a skateboarding odyssey filmed in the desert that rides in perfect form with the lengthy electro work out. The smooth glossy feel of Hopkins downtempo and techno production is given a heated and darkened aura musically, pulsing with each measure like that of the pushing motions exhibited from the skater and the steaming hot surroundings of the desert. Jon Hopkins creates music that glues itself to the inside of your head and doesn’t leave and “One Eye Signal” is one massive example of this creative prowess.
[Immunity LP Notes]
The first sound on Immunity is that of a key turning, unlocking the door into Jon Hopkins’ East London studio. It's followed by the noise of the door slamming, then footsteps, and then finally the crisp, clipping rhythms and pulsating bass of ‘We Disappear’ emerge, signposting the most club-friendly music Hopkins’ has made to date. So begins a confident, dramatic record defined by this acute sense of physicality and place; a bold statement after the quiet, intimate Diamond Mine, his Mercury-nominated 2011 collaboration with King Creosote.
Until now, Jon Hopkins has been an elusive character, known to most as an expert producer, Ivor Novello-nominated composer of film scores, remixer and long term collaborator of Brian Eno and Coldplay. Yet as Hopkins freely admits, the fact that his solo albums to date (Opalescent, 2001; Contact Note, 2004; Insides, 2009) have been rather overshadowed by his work with others has meant that he’s been able to quietly develop his own identity, style and sound. Some of the ideas for Immunity have been in his mind for a long time, but there’s never been a rush to get them out there. It’s part of his mission to make music that feels as natural and unforced as possible.
Yet from the moment you hear that key turn in the lock, Immunity announces itself as a powerful, multi-faceted beast, packed with the most aggressively dancefloor-focused music Hopkins has ever made. Initial indications suggest his first foray into riffs and grooves is paying off. See first single from the album, ‘Open Eye Signal’, where a high pressure hiss gives way to burbling, insistent rhythm - a chrome express train accelerating through a sunlit landscape. The track got its first outing courtesy of Apparat at a DJ set in Japan on New Year’s Eve - an email from the German musician informing Hopkins that the room had erupted made for a great late Christmas present. Or ‘Breathe This Air’ with its graceful build and huge contrasts in mood via uppity rhythms, mournful piano notes, and stirring choral drones. And then there’s ‘Collider’, the album’s peak and the track that Hopkins says is the best he’s ever written. A ten minute techno monster, ‘Collider’ is underpinned by a constant, pounding bass pulse and a sinister texture that could be a harshly taken breath inside a gas mask. The towering central riff makes for a mournful, dystopian aesthetic, cinematic like black rain over neon. Yet the bleak euphoria that suggests a knees-up at the end of the world is only half the story - the compelling 4/4 rhythm and hint of a human vocal give this a massive twist halfway through.
Hopkins deliberately structured Immunity with this colossal banger in the middle. The whole album, therefore, works as an idealised soundtrack to a massive night out, peaking with a huge, lost-in-the-moment climax that feels like more than mere hedonism, warm endorphins swilling around the mind. This desire to create dance-floor focused music that was a step up from the slower tempo ambience of his previous solo albums was largely inspired by months spent in clubs and at festivals touring Insides. This gradual absorption of anything from the futuristic oddness found at LA's Low End Theory club night (at which he has made several live appearances) to sterner European techno seeped out in the studio, shaping his mission to find new melodic routes through what were for him uncharted rhythmic territories.
What makes Immunity so intriguing, however, is the methods Hopkins used to do this. A curse of contemporary clubbing is the audible strain of laptop-DJd and computer-made MP3s through powerful PA systems. Hopkins, on the other hand, went out of his way to make music that sounded like physically built things with layer upon layer of depth, a long way from the cold CGI artifice of much entirely computer-derived electronica.
This desire to use physical, real-world sounds (anything from tapping a piano and drumming on the desk to a two quid tambourine and salt and pepper shakers) as the basis for many of Immunity’s rhythms also comes from Hopkins’ frustration with the ubiquity of certain synthetic drum machine samples in much contemporary dance music. In the corner of his studio sits the piano that he has had since he was eight-years-old, and the instrument features throughout the more nostalgic second half of Immunity... but not always as you’d expect - Hopkins also uses it to explore new methods of sound generation. On ‘Form By Firelight’, for example, the pedals provide the beat, and the strings are struck for chiming tones.
Hopkins’ intent throughout was to be open to the world around him finding its way into the music, wherever he was. These happy moments of unintended creation included the reverse alarm of a lorry outside his Bow studio hitting a certain note during a recording session, serendipitously leading the chord sequence down a different path. The whistle and pop of fireworks emanating from the nearby Olympic Stadium were captured and slowed down, to sound like the echoes of a distant battle. Life and grit came from actively boosting things that aren’t supposed to be there, such as the rattle of window frame at every kick drum hit. This method of looking inside the music for interesting details to pull out and tricking the brain with technically incorrect recording methods might have most studio engineers tutting, but here helped to create a mangled reality. In Hopkins’ studio everything can be melodic, and nothing is wasted.
With this sense of place, Immunity is also a sketch of real experiences and memories absorbed by Hopkins over his thirty-three years. These he now tries to reflect and respond to in his music. This might be the quest to recapture the sound of a perfect chord made by water running through pipes in a New York hotel room, or the light reflecting off the surface of the Thames at certain times of the year, the random patterns of nature. This not only makes the album deeply personal to Hopkins, but is key to one of his main inspirations in recording it - the desire to slow down or alter the brainwaves to help us reach different states of mind, whether via hypnosis, music, or drugs.
Self-hypnosis is a longstanding personal fascination that Hopkins wanted to bring into his music, yet it was only on Immunity that he felt he had the technical ability to actually try and make it happen. The quality control that decided whether or not tracks were finished was to come into the studio in the morning, and if the track started sending him off into another world, it was done. Similarly, when it seemed that Immunity might be ready for mastering, Hopkins tested it by lying on the studio floor, hitting play, and seeing where his mind ended up. With a stated aim to see if this music might have a similar effect on those who encounter it, Immunity feels like the accompaniment to a journey of creativity, a trip inside Hopkins’ mind.
That keys-in-the-lock recording that begins the album might usher the listener into the studio to be present at the moment of the music’s creation, but it has a counterpoint in the thrilling album closer, and the song that gives the album its name. ‘Immunity’ is built around rhythms that creak and mutter like the workings of an old watermill joined by a simple, elegiac piano part and indecipherable vocals by King Creosote, as if to paint an inverse to the techno tumult that dominates the album’s first half. The very natural-sounding rattle and dying piano notes at the record’s end show just how far we and Hopkins have come on one of the most human electronic albums you’ll hear this year.
03. Christophe ft. Danielle Moore - Comeback (Casino Times Remix) [Future Boogie Recordungs | FBR018]
Futureboogie brother Christophe and the eternally cool Danielle Moore get it together for the next release on the imprint and deliver a surefire summer sensation. ‘Comeback’ has anthem written all over it sunshine boogie disco bounce and deep melodic keys alongside Danielle’s sultry voice it’s a closing track for friends and lovers. On the remix front, hot London talent Casino Times strip back the vocal in a dancefloor builder while Christophe & Lukas stir it up with an old school bassline and anthemic synth stabs.
Released by: Futureboogie
Release/catalogue number: FBR018
04. Marco Faraone & Luca Agnelli - Hold It Like That [Desolat | DESOLATX022]
Despite their tender age, Italian producers Marco Faraone & Luca Agnelli have released on some of the most established labels including Get Physical, Cècille, Dirtybird and Moon Harbour. This X sees the young duo continue their rise to the top with an impressive debut on Desolat which showcases their considerable production talents.
Title track ‘Jambo’ kick off the EP at a strong pace with a deep bouncing bass-line, crisp percussion and a hypnotic distorted looped vocal makes for a thrilling and trippy track. ‘La Feria’ is another driving track aimed at the peak time dance-floor. The track is characterised by strong drums and a distant radio-like sample which is prominent until the track drops back into its distinctive rhythm. ‘Hold It Like That’ is a perhaps the most delicate offering on the EP. The track develops at a gentler pace, with an infectious looped vocal sitting and shimmering hazy-melody sitting upon crisp drums. ‘Last Call’ which rounds off the EP, is once again a powerful track, with subtle-builds, aimed firmly at moving a packed dance-floor.
Overall then on the ‘X EP’ Marco Faraone & Luca Agnelli justify why they are two of the most promising producers around by delivering an accomplished debut EP.
05. Phoenix - Entertainment (Hot Natured Remix) [Glassnote Records | 886443981928]
Hot Natured fans rejoice! Breaking from their tradition of not really doing remixes, the talent quartet recently released this stream of their take on Phoenix’s “Entertainment” and it couldn’t be more delicious. Turning the indie-dance hit into more of a sultry deep groove, this one is definitely going to be a summer staple.
“We’re all big fans of Phoenix. We had kind of decided that Hot Natured wouldn’t do remixes but we couldn’t turn this down. We broke off finishing the album and all got it involved. Our first proper Hot Natured remix.” – Hot Natured
[Earmilk]
The release of Phoenix’s new album Bankrupt has taken on extra significance for dance fans due to this remix of lead single “Entertainment” by Hot Natured. Their first remix since absorbing the talented Luca C. and Ali Love from Infinity Ink and reforming as a 4-piece, the track nonetheless calls to mind the early work by Jamie Jones and Lee Foss rather than the radio-friendly anthems released by Hot Natured over the past year, although Thomas Mars’ vocal is showcased well by Jones & Co’s pop sensibilities.
The vibe may be dark and deep like the Hot Natured edits of old, but the continuing evolution of the 4-piece as a bona fide band is on display here, with unquestionably live bass lines and organ fills interspersed throughout the synths and electronics. Those worried that their underground heroes are “selling out” in their increased rise to stardom should take a listen: this is the sound of the underground and mainstream pop interacting effortlessly. Or in other words, the sound of Hot Natured.
06. Dinky - Falling Angel (12" Version) [Visionquest Records | VQ028]
Dinky makes her evolution from inaugural DJ to singer songwriter and front stage performer with new album ‘Dimension D’ out in June on Visionquest. Single ‘Falling Angel’ is first to drop with remixes from two elite producers, Matthew Styles, who coproduced the album, and Pépé Bradock. Both heighten Dinky’s layered ethereal vocals and mesmerising melodies with their own movement and elements of dark and light.
Her sister named Alejandra Del Pilar Iglesias Rivera Dinky at birth. Born and raised in Santiago, Chile, as a child she studied Ballet and the Suzuki method of piano before relocating to New York to become a contemporary dancer. Her drive to make music brought her to Berlin a decade ago where she quickly became a dominant force in dance music, making her mark through releases on Carpark, Cocoon, Ostgut, and the critically acclaimed ‘Anemik’ album in 2009 on Mathew Jonson´s Wagon Repair. Her fifth studio album, ‘Dimension D’ sees her evolve into singer-songwriter and performer and take on a new musical direction. Long term friends with the Visionquest collective from their hedonistic days residing in Berlin, Dinky’s fresh approach fits within their ethereal and otherworldly style and follows the Footprintz album earlier this year.
Consistently on point DJ and musician Matthew Styles coproduced and mixed ‘Dimension D’ and will perform the album live in a series of dates this summer.
French DJ/Producer and prolific remixer Pépé Bradock has been an enigmatic figure on the scene since the early 90s always essential listening for anyone into deep house with a magic off kilter touch.
[RA Review]
Dimension D, Dinky's forthcoming album, confirms her ongoing transition from house producer to singer/songwriter. However, this more dance floor-oriented version of "Falling Angel" than the one on the album proves that the Chilean artist isn't foregoing her DJ roots just yet. The main mix finds Dinky sweetly, breathily intoning—voice multi-tracked to near indecipherability—over a quirky house backing.
Matthew Styles is a natural choice for a "Falling Angel" remix—he co-produced and mixed Dimension D. The Berlin-based Brit introduces a rasping bass throb and echoing finger clicks that ratchet up the tension before bursting open to reveal a frame hewn from granite, and strings that chatter and yaw. Like the original, Pépé Bradock's reworking is rooted in 4/4 house but blossoms into something atypical. In this case, that's a jazz-flecked stomp with muted synth brass that climaxes in a flurry of double bass and distorted breakbeats. Somewhat predictably, it's the enigmatic Frenchman who steals the show.
07. Remote - Conex (Kiki Remix) [Meant Records | MEANTLW001]
Feat. Rework, Ewan Pearson, Remain, Crackboy, Kiki, Remote, Monoblok&PSLKTR
EWAN PEARSON remixed REMAIN.
REWORK wanted a talk.
KIKI remixed REMOTE.
CRACKBOY gave an alternative mix of MONOBLOK&PSLKTR's Damage Done.
12’ VINYL ONLY - LIMITED & NUMBERED / RELEASE DATE : MAY 2013 / WORLDWIDE EXCLUSIVE DISTRIBUTION BY TOPPLERS
Founded in 2008, Paris-based MEANT Records is exposing some of it's hidden gems through the launch of an exclusive vinyl only
series. 12"s carrying rare/previously unreleased tracks (you never knew you loved and missed) from the MEANT catalogue and new hits
from the imprint's stalwarts.
Meant - Limited Whites Vol.1
Cat: MEANTLW001
08. Monika Kruse - One Love (Rampa Remix) feat. Robert Owens (Traces Remixes PT. 2 EP) [Terminal M Records | TERM103]
An advance preview of a track from second part of the remixes for the Terminal M owner’s highly acclaimed album ‘Traces’.
Quickly after the release of Part 1Terminal M founder Monika Kruse returns with the second installment of remixes for last years album 'Traces'. While Nick Curly & Ramon Tapia did an amazing job the last round it's now the time for Mathias Kaden and Rampa to show their skills and talents. Part 3 will follow later this summer.
Hour 2: Andreas Henneberg
01. Andreas Henneberg - Mountain [Voltage Musique | VMRA051]
02. ID
03. Gunnar Stiller - Open You [Wasabi Recordings | WASABICOMP075]
04. ID
05. ID
06. ID
07. ID
08. Marc Miroir & Andreas Henneberg - Faces [Paso Music | PASO033]
09. SQL & Andreas Henneberg - Celsius [Form Music | FORMD24]
10. ID
11. Marcus Meinhardt - Belvedere (Andreas Henneberg Remix) [Voltage Musique Records | VMR048]
Fri, 28 Jun 2013Insane at Pacha Ibiza / Ibiza, Spain
Fri, 5 Jul 2013Insane at Pacha Ibiza / Ibiza, Spain
Fri, 12 Jul 2013Insane at Pacha Ibiza / Ibiza, Spain
Fri, 19 Jul 2013Insane at Pacha Ibiza / Ibiza, Spain
Fri, 2 Aug 2013Insane at Pacha Ibiza / Ibiza, Spain
Fri, 9 Aug 2013Insane at Pacha Ibiza / Ibiza, Spain
Fri, 16 Aug 2013Insane at Pacha Ibiza / Ibiza, Spain
Fri, 23 Aug 2013Insane at Pacha Ibiza / Ibiza, Spain
Fri, 6 Sep 2013Insane at Pacha Ibiza / Ibiza, Spain
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