Rather than operate as a music news source, Electronic Beats operates as a music information source. We want to share with you; we want you to know what we’re hearing, what’s reverberating our cochleas and sending broader vibrations throughout our bodies, and by extension our audio-addled souls. Down with that? Welcome to Editors’ Choice.
Lisa Blanning (Online Editor)
Jeremih – “F You All The Time” (Akito’s F U On the Clap Trap Ice Rink – Bootleg)
This track is months old (sorry), but I only heard it last week when Kingdom dropped it during a DJ set. A mash-up of Jeremih’s ubiquitous but irresistable “Fuck U All the Time” and Wiley’s “Ice Rink Riddim”, the idea sounds obvious and naff, but it works. I know this feeling won’t last long, but I’ll enjoy it while it does.
Louise Brailey (Deputy Online Editor)
Diagonal Records – Far Out, Man: A Heatwave Mix
A psychedelic mix awash with sun-bleached colour courtesy of Jaime Williams who runs the Diagonal label with Powell. It’s quite a departure from the dense, charred textures of the label’s output but it does contain Creedence Clearwater Revival who are known to pop up in the odd Powell set so it’s not that out of character.
Jensen Sportag – “Bellz”
Nashville duo Jensen Sportag have a fetish for the kind of sumptuous, frictionless electronic pop that feels so detached it borders on chilling. This is entirely a good thing, by the way. Their debut drops this autumn.
Moritz Gayard (Online Duty Editor)
dBridge & Skeptical – “Move Way”
A drum’n’bass banger by dBridge and Skeptical. The track will be one of two on the B-side of the upcoming R&S EP Move Way.
Factory Floor – “Turn It Up”
Turn It Up! Here’s a new track from synth dance trio Factory Floor from their debut LP Factory Floor, out September via DFA. I can’t wait for this release.
Daniel Jones (Contributing Editor)
Cassie – “Take Care of Me Baby” (feat. Pusha T.)
Cassie’s Rock-a-Bye Baby is one of the great mixtapes of the summer, and this track has more or less burned its way into my cortex. Time for a power electronic remix, perhaps…
Jannik Schäfer (Social Media Editor)
Jon Wayne – “Ode to Mortality”
Who is Jon Wayne? Stones Throw introduced him about a year ago as an MC and producer without any further details and has since released two tapes (exclusively cassette tapes that is), which I never saw anywhere. Now, Jon Wayne’s 3rd Cassette, the Marion Morisson Mixtape, was released together with a free download, And boy what a tape it is.
Read previous editions of Editor’s Choice here.
Daniel Jones meets the charismatic vocalist at the helm of dark pop reconceptualizations—including of her own material—and uncovers some of the undertones driving the former political journalist’s work. Photo: Obi Blanche
At the end of 2010 Annika Henderson, stage name Anika, released her self-titled debut. Heralded by the bloggerati and produced by Geoff Barrow of Portishead, it nevertheless was received, as Henderson herself says, with some confusion. The music press tended to label it a Nico-flavored collection of folk and pop covers, a description which fails to convey her commanding presence, the sense of fiercely dark passion in her singing voice, the beautifully dubbed-out production of the reconceptualized material, or the political undertones present throughout. A political journalist before she was a musician, Henderson’s music (be they covers or originals) often conveys messages about class-based society and capitalism. Her latest release, the Anika EP, more or less follows the same path as her debut, but as I found out when we met, its destination is rebirth.
How has the response to the new EP been?
It’s strange how it’s perceived, because with the first album a lot of people were like, “Well, what is this?” and the EP seems to be better received. It’s always hard when you release something, because by the time it comes out you’ve often moved on with your ideas. It felt important to put something out from that stage when we were touring together so much. I don’t know… I’m already on the next stage.
Do you think this acceptance had to do with you being more established, with people having grown used to you and Geoff as a sort of team, or do you think it has more to do with a social shift in musical perception?
I definitely think the music climate has changed since the first album was released. Whereas I think that was confusing for people, now people are saying the EP isn’t as daring as some other current releases. It almost feels like being overtaken. With political post-punk bands like The Savages, for example, I’ve always been happy that they’re so accepted in England, where right now the nostalgia level is stuck in the ‘50s with everyone wearing quaint dresses and obsessing over old BBC recordings. To have a front woman like Jehnny who’s putting across a totally different image and still being lauded… England is strange like that.
It seems strange that it would be less accepted there than in other places; after all, it’s where much of the sound and imagery behind post-punk was born, really.
True, but that doesn’t mean it’ll be accepted another time ‘round. The way people respond to musical resurgences as well as music in general is so different everywhere you go.
What are some shows you’ve seen recently that have really grabbed you?
I saw Psychic TV play recently, and it was one of my favorite shows ever. Genesis is the most emotional lead musician I’ve ever seen. You don’t really see that kind of vulnerability from singers anymore; I was practically weeping through most of the songs. I was also really impressed by The Knife’s new show. My favorite thing about it was the sense of humor in it, I thought that was wicked. Olaf has the best sense of humor too. People can throw things at it and say it was pretentious—
But it wasn’t at all!
No, not at all! It had a lot of substance, and I know how hard they worked on it. The choreography was so well planned out and it was completely poking fun at itself, at the music industry and the idea of live shows. I think my favorite was the solo piano piece, Olaf headbanging in a ginger wig on a big classical piano—but there’s no piano in the track! That’s great.
I loved that it’s making fun of the fans a bit, but not them personally; more like taking the piss out of their expectations.
I loved the cover of Shaking The Habitual as well, it’s so grotesque. I think it’s disgusting, which is what’s great about it.
I was swept up in the spectacle of it all. The music was great, but there was so much depth in what they were saying with the spectacle and the deconstruction of the live performance that I was reeling a bit afterwards.
When people are saying, “Oh well, it wasn’t what I expected” it’s like, “Well, perfect,” because that’s a success for The Knife. That’s the whole point of the album’s title, they’re trying to shake you out of your habits, into something new.
You mentioned that this EP felt like the end of a chapter to you; what will be on the next pages?
There was a stage where I was tempted to go along the same lines but I’m bored by that so it’s hard to say. I’m working on a few different things. There are a lot more different influences from my younger years going into the new stuff. I kind of wanted to close off from my past work a bit, let that settle and concentrate on the new stuff. I don’t want to reveal too much because I’m driven to do things that aren’t overly thought out. I recently read an interview with Grimes, and she was saying how so many people come to her being like, “You should let me produce your album” or “You should make music more like this.” It feels like in the last year so many people have approached me trying to plot out my next move, telling me what they thought I needed to do. I don’t care what I need to be doing.
What a weird way to react to someone’s art. If you have a vision, why not just make it yourself instead of projecting your ideas onto someone else?
That’s the thing, that’s how a lot of people react. So many reviews found it hard to believe that when we made the first album, we weren’t really thinking about it. All of the reference points they ascribed to me I wasn’t really aware of. It was only after the fact that I started checking all this stuff out and building up a vinyl collection. When I wrote my poems, I’d always recite them in this old-timey, Dylan Thomas BBC voice because I love poetry from that era. That’s one of the reasons I liked working with Geoff. We never discussed what the music was meant to be; we just went in and made something. I never even wanted it to be available to the public, initially. I was just doing it for my own venting. So it was interesting to do a second release because I was much more aware of my audience. But I’m following my own desires, so if the new album ends up being a jungle record then so be it.
What are you working on besides another record?
I recently decided I was getting bored with my current musical setup, so on Saturday I’m planning something new. I asked two of the guys from Kriedler to replace my backing band, with Tyler Pope from LCD Soundsystem [and formerly of !!!] on bass. I told them that I didn’t want to rehearse any of the material; that’s what I hated before. I just want to turn up and do what I do, and be able to trust my musicians to play. So we’re only doing two rehearsals before the show.
You’re deconstructing your old material?
We’re going to completely rip it apart. I’m excited because I’ve been wanting to document the performance and the process behind it, and that’s being investigated as well at the moment. I want them to use their own style. That’s the point of this. It’s such an experiment, and I like setting up these sorts of traps for myself. I like to see what happens.
So much of it will be improvised?
I’ll be directing it in case any of the synth lines get too cheesy or something, but I have confidence in Tyler and the Kriedler boys. I felt that when I was too focused on what my band was doing, I could never focus on what I myself was doing. I felt more like a band manager rather than the singer, and I don’t want to do that. My music lost a lot of its political slant because I felt I couldn’t put the important parts of myself into it. That’s why I stopped for a while, because it got to a point where that side of me was absent from my music, and I started boring myself with my own shows, and I thought, “Hang on, what am I doing this for?” If you don’t like something, you change it and replace what you miss.
With so many highly visible political changes happening in the world, it feels like a very good time for that side of you to resurface.
That’s why I feel like I’m struggling at the moment. There’s so much going on that I think I need to travel and see these things for myself. I used to want to be a documentary journalist.
When I lived in America, I took a lot of sound recordings of the different styles of religion I came across. I lived in Indiana, and there are so many various forms of Christianity there. Everyone I’d meet was so passionate about what they believed in; they would tell me that other versions were wrong, but most were basically arguing the same idea. I was taught by nuns, and one of the things I learned through that was observing religious ceremony, how to look at arguments in different ways, and how to empathize with these ideas even if I don’t align myself with a particular religion. Since i have began to study and align myself closer with certain strains of Buddhism but that’s more of a philosophy. There are definitely a lot of basic morals in Christian thought that I do accept.
You’re more practical than spiritual?
If anything, I prefer it. I was a mathematician before I was a musician. I like things that are logical. There’s so much practical ideology in religion that makes sense, however.
The perception of any religion is usually based on its followers and their actions; it’s often not the teachings that are at fault, rather the inability to be properly taught.
You’ll always have people who twist ideas to their own advantage. I believe in the Buddhist principle of karma, however, because it all comes down to treating people in a certain way. It’s interesting looking at the different sides of anything, really. There’s never a definitive ‘good’ or ‘bad’, even though we’re taught that as children. They just don’t exist. That’s why I wanted to make documentaries, to examine ideas that people think of as clean-cut. When I did my degree I did a lot of research into Islamaphobia, which between 2005-2008 was all over the British media due to the London bombings. There was a lot of casual racism, and it was fascinating to see how people would try to disguise it. There was a comment made by Jack Straw, who was a local MP at the time, saying that if his female Muslim supporters wanted to speak to him about issues that they’d have to remove their veil as a mark of respect.
But where is his respect for those women?
Exactly. Obviously as a female Muslim, you don’t want to remove your veil for a man you don’t know. So people were writing in to the paper saying things like, “Well, I ride a motorcycle and I take off my helmet when I see Straw…”
What an absolutely daft comparison!
After the 2005 London bombings, if a person entered a bus with a beard and a backpack, people would run off and ten+ years before, during the IRA bombings, the same thing would happen if someone Irish got on a bus. It’s the same old prejudice.
It’s been interesting to watch how political music, I mean even Top 40 music, has become more and more political in ways that you didn’t really see even ten years ago.
That’s the thing; there was an era when high-profile musicians were so worried about their position that they wouldn’t take any sort of risk or get involved with political issues. Now it’s a lot more overt, even with this recent Texas abortion bill. The amount of big-label musicians who were tweeting their support for the senator who filibustered it for 11 hours…
Yeah, it was wonderful to see. It’s not a particularly risky way to show support, but it’s good to see that people are taking a stance on an important issue. Especially having lived in the US in 2008, when so many people were supporting Sarah Palin during the election. I knew a lot of well-educated women in Indiana who supported her and I’d just be like, “Why?” I think her views are horrendous. When Hillary Clinton dropped out of the race, a lot of women also started supporting Palin simply because she was a woman.
Even though her views are ultimately so anti-women? That’s weird.
It’s that whole personalization of politics; “Oh, there’s another woman in the race.” Obviously I support female politicians, but I don’t really consider Palin a female. I think she’s just crazy.
“I don’t really consider Palin a female,” is one of the best quotes I’ve heard in ages.
I think it’s because I can’t identify with her on any level.
But you can’t look at a politician from the perspective of their sex—or if you can, I’m not sure you should.
Not at all, but it’s funny because often women in positions of power will strip away their femininity as a way of competing with the men. It’s not always a conscious decision but you do feel that it can be used against you. When I was working as a promoter, I used to lie about my age when I was booking bands, or use a gender-neutral signature in emails, because I was 21 and dealing with like £20,000. If they knew I was a young girl, a lot of bands and bookers wouldn’t take you seriously. As a woman going into politics, I’m sure it isn’t easy. There’s a German politician, Dr. Kristina Schröder, who’s in charge of education policy. I don’t agree with all of her views, but I saw her speak to a room full of investors, and I thought she had a lot of confidence and strength. As a woman going into politics I’m sure it isn’t easy. There’s a German politician, Ursula von der Leyen, who campaigned a lot about bridging the gap between young people and the workplace, something I think is desperately lacking in the UK and one of the reasons I left. I don’t agree with all of her views, but I saw her speak to a room full of investors, and I thought she had a lot of confidence and strength. That’s why it was so good to see Wendy Davis and her strength. To speak for 11 hours on one subject shows so much skill and intelligence.
You don’t see that so often in politics.
In English politics, you don’t see a lot of specialized intelligence. You’ll get a guy who one day is in charge of health, and then the next day they’ll move him to education. How can he really know the field he’s working in?
It’s the same system you see in large chain stores, where employees can transfer from automotive to housewares and be totally ignorant of the customer’s needs for any given query. It’s Wal-Mart politics.
Even as a journalist, when I was reporting on Austrian and German education policy, they moved me to Eastern Europe and I suddenly had to relearn everything without really having a complete picture. So it was reassuring to see someone speak knowledgeably about a specific area of expertise. For so long specialists were deeply valued; now everyone wants to do everything but the result is paper-thin. Everyone with Photoshop is a graphic designer; everyone who studies English lit is a journalist. It’s a façade. The public education system in England encourages you to become a jack-of-all-trades, not to specialize. They got rid of so many practical courses, the bits where you actually learn something properly. People don’t go into the wilderness to apprentice and learn something for years anymore. It’s just gone. People wonder why standards have gone down; look at the education system and see.~
Following the announcement of the upcoming release of a Quasimoto rarities record, we reproduce a conversation between the revered hip-hop producer, MC, and “man of few words”—he lets Lord Quas do the talking for him—Madlib and the Neue Deutsche Welle architect and member of The Orb Thomas Fehlmann. This feature is taken from the Winter 2012/13 issue of Electronic Beats Magazine.
Los Angeles-based beatmaker and multi-instrumentalist Madlib is widely regarded as one of the most original producers in hip-hop. Born Otis Jackson Jr., the Stones Throw label vet and former Lootpack member has honed a jazz-tinged, sample-heavy sensibility that defined the genre’s underground offshoots in the late ’90s and early ’00s. An avid crate digger and a vocal proponent of sample source eclecticism, Madlib’s path has rarely strayed from the groove-related, and his most recent work with veteran krautrockers Embryo is no exception. In a rare conversation, the notoriously reticent musician opened up to Thomas Fehlmann of The Orb and Palais Schaumburg about collaborating with the late, great J Dilla and the joys of discovering German music. Main portrait of Madlib photographed in San Francisco by Mathew Scott, Thomas Fehlmann photographed in Berlin by Luci Lux.
Madlib: Thomas, just so you know: I’m a man of few words.
Thomas Fehlmann: The last big interview I read with you was in The Wire a few years back. My good friend and former fellow band member Moritz von Oswald was on the cover just a few months before that. Back in the day we played together in Palais Schaumburg. Have you heard the new album Fetch he did with his trio? It’s really impressive, very jazzy, electronic, and very eclectic.
M: No, I haven’t. I actually don’t know much about new music, really.
TF: Well, Palais Schaumburg is old school. And pretty experimental. Early ’80s. We started playing live again last year for our 30th anniversary. I played—and still play—live synth and trumpet through an echoplex. The lyrics are all in German and very Dada.
M: Oh, I’d love to hear it. Trumpet through an echoplex, huh?
TF: Yes, it’s pretty free, apart from an occasional riff, although our music is mostly structured around a danceable beat. It seems to me that generally speaking, European music is obsessed with rhythms in 4/4, particularly today’s dance music. Do you think this is a continental phenomena or what’s your take on straight rhythms?
M: Well, funk is 4/4. It’s so you can dance to it. Although, shit, I could dance to 5/8. It’s all music.
TF: I hear you. What have you been up to since coming to Berlin?
M: Just drinking wine, chilling with Embryo and relaxing. I’m sure you know that Embryo is a musical collective from Munich that started out in the ‘7os. They make pretty eclectic krautrock, working a lot with jazz musicians and world music and whatnot.
TF: Have you guys been rehearsing?
M: No, just listening to some of the stuff we recorded last time, around five hours of tape.
TF: But you’ll also be playing a show in Berlin later this year. I actually penned that into my calendar before I knew that I would be meeting you for this conversation.
M: Hey man, bring your trumpet to the show.
TF: How did you know about Embryo? Crate digging?
M: Actually from touring. I’d been coming out to Berlin since 2001, and I’ve been learning about different types of music. Krautrock is certainly one of my favorites.
TF: Have you checked out Can’s Lost Tapes?
M: Yup, I picked it up almost immediately when it came out. There are some absolutely brilliant tracks on there. Honestly, Can are one of my all-time favorites. I actually played with Jaki [Liebezeit] with the Brasilintime cats.
TF: He also has this brilliant project with Bernd Friedmann. It’s so cool that Jaki’s so persistent about working with all types of artists.
M: Yeah, he’s very open-minded.
TF: Have you gone record shopping in Berlin yet?
M: Actually, no. Nobody’s told me where the stores are at.
TF: Well, you should start with Hard Wax. It’s not your average shop. The people who work there and run it have very strong opinions about what they carry. There’s also a legendary cutting room there where they master the records for lots of international producers. Unfortunately, they don’t carry that much hip-hop anymore. . .
M: I never buy hip-hop records.
TF: They also have quite a selection of African music, which recently started to blow up a bit. This grew out of the whole reggae and dub wave, and it sits quite well with the broader stream of contemporary releases. I find some of it is very psychedelic.
M: I love psychedelic stuff. That’s my era.
TF: Is that what you grew up listening to with your parents?
M: My parents were incredibly open-minded. They had everything from James Brown to Kraftwerk, and I had a record player in my room, so I would always steal their stuff and listen to it on my own.
TF: You’re lucky. I had to fight with my parents to play what I liked and to get my turn at the record player. Eventually when they got a stereo, I was allowed to set up the old mono system in the basement for my use.
M: That’s how I first learned about music. Back then music was a different feeling. These days everybody follows trends. I honestly think things were far more open-minded back then. People tried harder, and there was more of a spiritual aspect involved . . .
TF: It’s maybe surprising, but I think music with a spiritual angle is the music that really endures.
M: I also like my music loose. Quantized is cool, but I also like that human feel.
TF: I think the humanness is what separates your productions from things done within the grid . . .
M: Well, I like that stuff too.
TF: I remember when I picked up the first Yesterdays New Quintet record—one of your many aliases—I was so impressed. I mean, a lot of people say they like jazz, but actually doing it is another thing. Of course, I’d been listening to you since back in the day with Lootpack.
M: It’s an honor for me to hear that. Actually, Yesterdays New Quintet was my first shot at jazz. Sometimes, I kind of feel like a musical schizophrenic, to be honest. But I think that’s probably not a bad thing.
TF: I know what you mean; trying to absorb all the magic stuff one is passionate for. The new Orb album we did with Lee Perry, The Observer In The Star House, was also a first for us in many ways. He actually spent a week with us in the countryside near Berlin. We had to be ready when he was ready to flow and that was basically always. He had a tremendous hunger for new beats. We needed to be fast, have all the machines and beats ready at any time. Lee also had a buddy with him, and he told us that usually after around two days, Lee gets bored with whatever he’s doing… but he stayed for the full week. This is the album [shows cover].
M: [turning it over] Ah, Steve Reich samples.
TF: Had to get permission for those.
M: Of course!
TF: As I mentioned before, I’ve been following you for quite some time. I decided to take a picture of all your records that I own. [showing collection pic] I’m not as prolific as you are but there are similarities, I also make lots of my music from my record collection, mostly older stuff.
M: Got to come back to stuff that people missed.
TF: I tend to treat my samples quite a bit, but it’s a similar flow in that existing music is the foundation and main source for the artistic result. That’s not to say that some of it can’t get pretty radical…
M: Even if it doesn’t sell, right? That’s some of the best stuff!
TF: When I see your work, I can look at it as if the idea of using your record collection to make music is a kind of conceptual art: the cultural output of society as the source material, put through the filter of your mind and your sampler. What about the other cultures that you explore in your music—non-Western conceptions of pop?
M: It’s all music that was done through records I bought—not visits to India or the Middle East or whatever. But I did manage to pick up the records from all over the world. The internet for me has been a help in finding material, but it’s actually something I just started using. I’m not constantly listening to streams or anything like that. We used to have tons of record stores where I live, but they’re disappearing one by one.
TF: Tell me about it! How important is the artwork for your records?
M: Well, it has to fit. A lot of the artwork just comes from pictures in my room or whatever. Like the Quasimoto album with the Frank Zappa bubble… This is stuff I look at all the time and surrounds me. I was living with Jeff Jank who does all the artwork, and we just listened to tons of Zappa.
TF: When I was a teenager I used to go to Zappa concerts when he was playing with Ruth Underwood and George Duke.
M: You got to love Zappa and Beefheart, The GTOs, Wild Man Fischer and George Duke… Zappa made me study all that stuff even more.
TF: Don’t forget Varèse! That’s the direction Zappa pointed me in.
M: You got to pay your dues.
TF: I think in Europe, there’s been resurgence in vinyl, amongst DJs, of course, but also people who love the object and its special sound quality. I see the whole numbering and signing thing as a part of that, which I know you’ve done. Is there a vinyl resurgence in the US?
M: Not that I know of. I mean, it’s still around and some people buy it, but not enough.
TF: You did it with the Medicine Show, too. Labels are becoming more like art galleries, encouraging their artists to put out stuff that’s really personal and unique, visually and sonically.
M: I think the art is as important as the music, to be honest. I don’t just download things. I want to know who played on a record, who produced it, where it was made… This stuff is important to me and always has been.
TF: So you don’t listen to contemporary music at all?
M: I do, but I don’t buy it. I’ll hear it when I’m in a club or whatever, but I don’t search it out.
TF: But there are musicians these days doing great things you just can’t hear in a club. It’s stuff that’s spiritual too but too experimental for the dancefloor, like Jan Jelinek or Daedelus, for example.
M: I like Daedelus, that’s my boy. But I have so much old stuff to discover I don’t know when I’ll have time to get to the new stuff.
TF: I remember reading in your interview in The Wire that you have all sorts of “future music” that’s unreleased. When are we going to hear that?
M: I don’t know. I don’t even know if I’m ready to hear it. There’s a lot of music I’ve done that’s gone unreleased: dubstep, synthesizer records, all types of different things, Cluster-like and beyond. I would say I’ve released around thirty percent of the music I’ve created.
TF: One thing I’m really curious about from a musician’s point of view is how you find the time to be in the studio and make so much music and still take care of, like, domestic stuff?
M: It’s not balanced. I’m mostly working in the studio. I mean, I have one at my house, but I’m usually in my bigger studio. I do what I need to do to feed my family, so they understand. It’s not really a balance yet, but I don’t see it as work. It’s music. Doing construction is work. What about you?
TF: I have to be able to let go to make good work. Forget about what’s going on in music, forget about my to-do lists. My mind and my environment have to be relatively in shape before I go into the studio.
M: Yeah, it’s easy to ignore everything, when your head is in the music. Even your health. It was the same thing with Dilla.
TF: Tell me about that. He’s regarded as one of the most important producers . . .
M: When he was alive, so many people seemed inspired by what he was doing. I heard Dilla everywhere, in so many different kinds of music. His influence was immense. He could do any type of music. I heard all sorts of stuff he didn’t release—electronic, Kraftwerk stuff… He was deep. I was lucky enough to kick it with him here in L.A. I guess he had to die for everybody to, you know, find their own way. It’s a weird way to put it, but that’s how it is. The music is so warm, precise and soulful. That’s how he lived. He’s like Bird and Coltrane, like Doom and… Doom.
TF: You’re one of the few people who’ve gotten access to the Blue Note archives, which you waded through to make Shades of Blue back in 2003. I always wanted to know what that was like.
M: It was fun. They have way too much stuff they should have released. The best records are still in the vaults.
TF: There are so many new things coming out of Los Angeles. I really like your brother’s work too, Oh No.
M: We actually just finished an album together.
TF: Really? That’s great news. I can’t wait to hear it. I’ve seen Oh No live a bunch of times. I actually just picked up his new record, Dr. No’s Kali Tornado Funk.
M: He’s a little beast. Both of us like looking all over the place for sounds. Really, you can find good things in every kind of music. I mean every kind, you know? You just have to look hard enough and have an open mind.
TF: In Germany we have a very broken relationship towards our cultural identity. Classical stuff here is more bourgeois. Then there’s the real folk music with accordions and all that. Some of it is impressive.
M: Everybody is one, we just live in different places. I’m ready to sample some Martian music, aliens and what not. I’ll perform for all Martians, you know what I mean? ~
See this article as it appears in our print magazine via Issuu.com below:
Rather than operate as a music news source, Electronic Beats operates more as a music information source. We want to share with you; we want you to know what we’re hearing, what’s reverberating through our cochleas and sending broader vibrations throughout our bodies, and by extension our audio-addled souls. Welcome to Editor’s Choice.
Michael Aniser (Contributing Editor)
Moon Wheel – “بابل,”
After releasing his first proper album on Not Not Fun earlier this month, Berlin based Moon Wheel just uploaded this suprisingly different track to Soundcloud. This is a deconstructed 4/4 banger, complicated techno, non-IDM…
Opal Tapes – “Batch 6”
The latest Opal Tapes Batch reads like an industrial techno all-star team. Shapednoise, S Olbricht, Rejections! Get it!
Louise Brailey (Deputy Online Editor)
Stay Positive – “You Hate Me” feat. Cooly G
Stay Positive formerly known as Stay + formerly known as Christian AIDS hook up with the first lady of funky for this undiluted slab of high tensile Ibiza-optimised mongrelism. It’s all fun until someone gets sunburnt boobs and the drinking games start.
Lana Del Rey – “Young and Beautiful” (DH Orchestral Version)
“Will you still love me when I’m no longer young and beautiful?” Oh hush now, lil’ Miss Needy. Don’t ever change, Lana.
Moritz Gayard (Online Duty Editor)
Excepter – “All the People”
It’s definitely been too long since news of the almighty no-punk outfit Excepter reached my inbox. Thank God Religion Records is just about to release a roster compilation entitled Psychic Selections Volume. 1, containing this instant classic.
Y◊ung Diam◊nd – “YBMB v.1”
Young Diamond is back with some dangerous dance beats aka nu rave dance shit. Enjoy the bass.
Daniel Jones (Contributing Editor)
Jonny Teardrop – “O Mirror”
I got a lot of love for my boy Jonny. The Parisian punk’s music generally ranges from blown-out distortion to witchy bass—which makes gentle moments like “O Mirror” so captivating.
CRNKN X ƱZ – “Booty to the Ground” (Lazerdisk Party Sex Remix)
New Jack Trap?? God yes.
Michael Lutz (Magazine Duty Editor)
Quasimoto – “Planned Attack”
A cut right off of the new Quasimoto LP Yessir Whatever which Stones Throw announced earlier this week. Check out a conversation between Madlib and Thomas Fehlmann, featured in Electronic Beats Magazine Winter 2012/ 2013.
With less than two weeks to go until Electronic Beats Festival hits Bratislava those people in possession of tickets are no doubt looking forward to a line-up that boasts the terminally hip Hurts, multi-instrumentalist James Pants, acid fiend Agoria and London upstarts Youthkills. If you haven’t bagged yourself a ticket yet, never fear, we’ve managed to get hold of ten pairs to give away.
To bag a pair of tickets and join us in the Slavakian capital on April 19th, just fill in the form below—easy. The festival takes place at the Refinery Gallery and all winners will be notified in due course.
Meanwhile, don’t forget you can read James Pants’ recommendation of 情報デスクVIRTUAL’s 札幌コンテンポラリ here and Louise Brailey’s Recommendation of Hurts’ Exile here.