The fabulous Italoboyz deliver typically infectious beats, rhythms and basslines direct to your sensory cells with this selection of music that invites you to engage, react and return. The haunting information posed via the trippy vocal lines of the title track has Midnight Summer Dream expand your mind and thought process with a teasing, tempting array of sonic possibilities reaching out towards fifteen minutes of finely tuned ecstasy. Yulia Niko’s brilliant remix follows suit yet alters the mood with an almost deeper, more intense succession of smoky drums cumulating in a rush of pulsating emotion around mid-point. Then, alongside Blind Minded, things take a turn for exhilaration in the shape of the Acid infused 5.05 which employs illuminating atmospheres together with taught, squelchy basslines reimagining a positive future past.
Welcome to Magazine Sixty, Marco and Federico. Let’s start with your new single: Midnight Summer Dream for Crosstown Rebels. How did your relationship with the Crosstown come about? And how important for you is it to have your music released on such a significant label?
Hi guys, it’s a pleasure to be here! We have known Damian for many, many years, and doing something together was just a matter of time, really… We have endless respect for him and his music, and for what Crosstown Rebels represents. It’s great to be able to finally have found something special that fits with the label.
Talk us through how the track was created, where the original ideas came from and the use of the spoken words?
The spoken words are a little bit of a mystery… the rest of the track was made by arpeggiating a very nice yet simple melody with a Korg Polysix. All the drums are made with the Roland 909 and with a Roland Handsonic, and then there are several other little random sounds that came from…somewhere. It came out spontaneously in a day, there’s no big deal behind this track, it was just one of those moments when things come up naturally and everything flows
Tell us about the choice of the brilliant Yulia Niko to remix Midnight Summer Dream? And how do you feel she has contributed to the track?
She is part of the Crosstown Rebels family and she did a very good job, her remix takes a completely different direction, and is a great addition to the release.
The second track: 5.05 AM was created along with Blind Minded. And reaches an amazing seventeen plus minutes. You also mentioned experimenting with guitars and pedals in that process, which ones appealed to you most? And how did it feel using an organic instrument such as a guitar as opposed to a synthesizer?
We have a quite long history of making music with organic elements and different instruments…. We’ve collaborated with many musicians in the past, including drummers, bass guitarist, guitars, violin players, trumpet players, etc), I could name dozen of songs we did by recordings musical elements and then adding our own twist, our FXs, our “touch”. We always did and we will always continue doing it. Watch out also for March, we are going to release on This and That Label a collaboration we did with a guy who plays Hang.
Listening to your recent mix for bloop. radio you impressively cross a diverse selection of genres and moods. Tell us a little about your personal philosophy when it comes to DJ’ing and your thoughts on breaking rules and boundaries?
Bloop radio is run by an amazing team, they give me total freedom on music selection. I l constantly listen to many music genres, and Bloop is the right place to melt them together. When it comes to being a DJ, the main approach is making sure you know exactly where you are. The idea behind the Bloop show is to deliver on the first part of the show a blend of less clubby oriented music, more suitable for an afternoon and the second part more dancy. Same for Dj gigs in clubs or festivals: a dj-set varies, depending on many factors (type of crowd, time, size of the club, how long we are going to play and few others). Breaking rules, being different and taking risks is something that every DJ j should do, in our opinion. But you must be in control of what you are doing and be able to understand when you and the crowd are on the same page. It’s actually one of the best feelings ever, when you know you own it, you feel you are in control of the situation. The same record/tune can either empty the dance- floor or can make people travel to the moon, it just depends on….you.
Who are your most important influences both within and outside of the world of electronic music? And are there any particular writers or creative artists which most appeal to you?
Martin Margiela is a great artist, not just a designer but a full on an artist (in fact in this days he is a painter). He took everything that was already there, he deconstructed and reconstructed, he never showed his face and at a certain point decided that he said what he has to say and he disappeared completely. Same for Bill Drummond & Jimmy Cauty better know as THE KLF. They Became number one on UK charts with a record made out of already existing records, they wrote a manual about how to do a number one chart song. On 23 August 1994, The KLF – one of Britain’s most incendiary bands, in more ways than one – burned £1m on a remote Scottish island. They then vowed to put their careers on hold for 23 years. So at 23 seconds past midnight on Wednesday, August 23rd, 2017 they made their comeback with a book, launch in Liverpool, called 2023: a trilogy.In all this year they were doing lots of fine art pieces, all secretly. The duo were greeted by 500 fans as they arrived at the News From Nowhere book shop in an ice cream van that played their hit What Time Is Love? and O Sole Mio. HOW CRAZY/COOL IS THAT!?! ☺ ALSO, A special mention also must be given to Futurism in general… We’ve been milking from those early 1900 poets and artists so much across the years, and also… the vocal of Midnight Summer Dream – that you were asking me about is also, somehow, related to Futurism
How would you describe Superfiction Recordings and what are your forthcoming plans for the label?
Superfiction always wanted to be something that encapsulates our different taste for electronic music, our own space where we don’t need to await any external filter, but we do exactly what we want. It’s born like that and will always be like that. The plan is to keep releasing our music, but with an eye on other people and eventually, more and more collaborations with other dj/producers who we respect and we are inspired by.
Sometimes events can lead us to feel comfortable in sombre reality. Sometimes music exists to tease out emotions that don’t readily appear obvious. Somewhere between black and white, where the grey areas are located, can seem like a daunting place but it is also the point at which thrills are sought. The uncomfortable terrain explored by Nate Young’s new long player (part of a series of solo releases) is never less than exhilarating, either when it feels out for depths of electronic weirdness touching grainy ambience, or when it adds beautifully warped rhythms to the equation. Mindless Voices plays fast and loose with Robert Fripp inspired extremes, while the expanding pianos of the contrasting Vents of Blue reverberate with an otherworldliness simmering with potential. An improvised jazziness informs the taught On Repeat as chiming sci-fi gets lost and found on Flushing. Finally, the melodic playfulness of Pardon the Mess leaves you with all of the above and a sense that you have most definitely experienced a strange occasion. You may start to form the picture that listening to Volume One isn’t so much about expectations but rather losing them. Pulsating synthesizers are the only order you can expect and even then not as you might imagine them. Crazed, twisted, brilliantly illuminating. Feeling almost naive, yet completely knowing with a certain uncertainty. Old and new concepts coupled with a future past. These are the sorts of thoughts that formulate in the mist as a result. But what will Dilemmas Of Identity cause you to think about?
We’re always up for the conceptual when ideas seek to overcome, stimulate and provoke. I listened to LSOS aka Seth Troxler and Phil Moffa’s first release from their debut EP with something akin to amazement. While a key element of the production feels plugged directly into Chicago or Detroit from a lost 1980’s – it’s the bassline which in ways drives this all forwards – it is also very much down to the wild and wonderful array of brilliant sounds that succeed in causing equal parts havoc and intrigue. Ever so slightly tripped-out, tearing at the edges noises which are precisely what music requires to keep on rejuvenating. And if further proof is needed gaze upon the accompying video, feeling your mouth drop open as words of disbelief explode forth – like a compilation of everything that ills the world, worse still you just know it already.
Another great release from M.E.M.O and one which ignites Mobilee all over again. This follow-up to ‘Tai Tai’ sees the artist delve deeper into rhythms that all at once satisfy and excite. The title track opens with sumptuous grooves resounding across the stereo as smoky vocals tease the airwaves still further. Always rewarding to hear vocals which define themselves alongside their own space as the accompying arrangement squeezes every part of soulful resonance out of the production, expanding the dancefloor’s scope in the process. Lo Unico, proceeds to roll out the rhythm section as atmospheric expanses gather pace, while synthesized motifs gain hold with voices again completing. Ormus, ends via shimmering keys and broken beats adding a compelling, probing feel to the final production.
Processing the word FRAME together with a succession of recorded images was the original idea behind Eugenio Vatta and Andrea Benedetti’s sonic project which began in 1992. Since that beginning a wealth of material has been produced now reaching 2019 with this startling new collection of ten pieces set to be released on the excellent Glacial Movements. In ways the darker, low-lights of winter are the correct setting for these sounds to illuminate the panorama as each track focuses on a separate planet surrounded by its own infinite silence, however space creates uniquely particular aural distortions, while the environment is far from quiet. Listening to the successive compositions gives you a sense of pleasurable unease that strangely feels reassuring yet also suggests a totally unknown quantity. Somewhere between meditative bliss and science fiction at a guess. Working in the live field both artists have created a masterpiece of atmospheres and their work here will penetrate even the most hardened soul.
Sometimes music is so joyous you just can’t ignore it. Lee Fields sings his heart out with a passion reserved only for a chosen few and aged 68 that blows most others out of the water. This song of yearning will strike a chord with anyone and everyone on the planet, comes punctuated by rolling rhythms, chiming guitar licks and cool, smoked Trumpet blasts. Perfect. It Rains Love, is the single from a forthcoming and no doubt explosively charged album of the same name. Produced by Leon Michels (Lana Del Rey, Adele, Beyoncé & Jay Z) the music resounds with a crunchy, analogue atmosphere that positively smoulders with a lost sense of Soul. Watch, look and listen below.
From the very opening bars of No Snare the stripped down yet resolutely beautiful trumpet by Leron Thomas intones a suggestion of what comes next. Of course this being Pan Amsterdam a nod to the past is employed and while you may recognise the vibe blown there is a timeless quality to both their definition of music and the words worked around that idea. The point for me is that you want to listen to what is being said, rather than it being shouted at you, there is much thought going on in the process. Tastefully crisp. Shinning bright like the low winter sun. Hit repeat.
As the song said: Another year over, and a new one just begun. So what promise do we have for entertainment this year? Will Disco continue to occupy supermarkets and shopping centres just as it does restaurants and nightclubs? When will the culture of re-editing nostalgia for a bygone age finally devour itself, eating its own imagination? The flip-side to this is all the wonderful new music being created by artists exploring the electronic dynamics which wire themselves directly back to a discovery of synthesized, experimental sound. The third in this series navigates America and Canada’s output complimenting the existing UK and European editions. Beginning in 1975 what quickly becomes apparent is just how radically different these records must have felt at the time of their release. Perhaps rock n roll’s guitar flair has informed Data-Bank-A’s ‘Creators’ but when you reach Rhythm And Noise’s ‘Current Slaughter’, or Dark Day’s ‘The Metal Benders’ you realise that the rush of keyboards igniting future horizons was only something machines could truly do. Rhythmic structures aside the compilation also teases out more ‘difficult’ ideas from the likes of Smegma’s wonderfully titled Dancing Hairpiece Wears Two Left Shoes, while contrasting with the equally brutal, early industrial sounds by Lon C. Diehl ‘Intermission: POP’. A world of difference then excitedly opens up inviting you to experience four discs worth of sonic possibilities that doesn’t revolve directly around R&B. Drum machines pulse and chime, synthesisers frighten and exhilarate, as voices smoulder. But all the while you never quite know what’s around the bend. What to expect next. Names of people I’ve never heard of populate the collection – part of the beauty of music is of course discovery – while names like Laurie Spiegel whose brilliant Drums is a revelation, Terry Riley’s contemplative ‘Across The Lake Of The Ancient World’ from 1980, Suicide’s ‘Rocket USA’, Patrick Cowley’s scintillating ‘Primordial Landscape’ plus a whole host of others are all names that notably inform the timeline. The third CD houses some of the most abrasive numbers, although even this disarray is tempered by the atmospheres of Anode’s cinematically charged ‘Evening Thoughts’. By the fourth the more recent early eighties are represented by Ministry’s vigorously funky ‘Work For Love’ alongside Thirty Years proto Techno ‘Executive Slacks’ and this rich seam of music continues to play out its own consequences beautifully. Yet another essential, important release from Cherry Red and one which acts as much as historical education as it does musically – difficult, problematic or melodically otherwise. Introductory essay by Sounds and Wild Planet legend Dave Henderson guides you through and along the wild journey of abandon.
Brothers in arms Marius & Fabian see in the New Year in explosive style as their hot debut for the highly impressive ZEHN has a flurry of percussion and soothing bass ignite the stereo. The title track, City of Belem explores a diverse set of influences and yet hits hard via its pounding grooves, alongside its probing Eastern motifs and colourful array of sounds. Tapana’s Kitchen, follows with a deeper refrain driving the heavy-duty arrangements which again breakdown into a musical feats of pleasures.